INTERNATIONAL Talk in g M ac h ine R eview London Summer 1995 £3.00 ISSN 0039-9191 Vintage Sounds Events • Histories • Biographies • Discographies • CD Reviews 90 V i n t a g e N auck'S R e c o r d s

We are very happy to announce our next auction; by far, the largest and finest we have produced to date. If you have never received one of our catalogs, this would be the time to start. This eighty page catalog consists of 5,000 lots, of which the following is a partial listing:

The personal collection of Arthur Tracy, "The Street Singer

plus 47 Berliners 180 other pre-1908 7" recordings Jules Levy 10" White Label E. Johnson Pre-Dog Test Pressing 10” & 12” Edison Needle Cuts Over 60 Picture Discs, including Vogues, Victors, a Mercury and a Saturne Movie Soundtrack and Theatre Use recordings, including 16" Vitaphone discs An assortment of truly bizarre advertising, promotional and instructional recordings Over 100 16" Radio Transcriptions, including a nice selection of NBC Thesaurus discs Over 1,000 choice Operatic and Classical lots, including 150 G&T’s and Fonotipias A large collection of Foreign records, including (but not limited to) African, Calypso, Hawaiian, French, German, Polish, Indian, Scandinavian and Latin records A huge selection of Jazz, Blues, Dance Band and Hillbilly recordings including the only known copy of the Famous Hokum Boys on Homestead 16097 and a choice copy of Jelly-Roll Morton on Victor 23307 plus 200 Dealer Stock Victor Scrolls, including more than one hundred 23000, V-38000 & V-40000 recordings A complete set of Canadian issue Elvis Presley 78's (27 records) Over 250 Edison Diamond Discs including Electrics, Test Pressings & Long Plays 17 Concert and Salon Cylinders Over 300 choice 2 and 4 Minute cylinders of various makes A complete set of Jim Walsh’s Hobbies articles Plus a huge assortment of Books, Magazines, Record Catalogs, Supplements and Needle Tins

To receive a copy of this, The Mother of All Record Auctions, please send us your name, address and phone number. If you have received our catalogs in the past but were dropped due to inactivity, please include $4 for US addresses or $7 for foreign bidders. If this is your first time to receive a Nauck's catalog, $4 would be appreciated, but it is certainly not necessary.

Nauck’s Vintage Records ❖ 6323 Inway Dr. ❖ Spring, TX 77389 Phone (713) 370-7899 ❖ Fax (713) 251-7023 Nipper’s Bit Contents TMR 90 Junk Shopper's Column...... 2806 Seems that we caused a bit of a rumpus in the last Continental Forum...... 2809 issue with our contributor Rick Hardy's piece about the Looking at Labels...... 2810 Enigma of Ruby Helder, for more, you should read the Diary of events and fairs...... 2810 Other Magazines column written by Master, whom I Other Magazines...... 2811 am asked to state has no personal axe to grind on this Dolly Dimples (almost) Completely Annotated2812 one, its just that he likes a good puzzle, and hopes that Zonophone Champion 1907...... 2813 no one will come to blows on this song and dance. ’Twin” Double discs ...... 2814 The "Cinch” Talking Machine...... 2815 Talking of dance, it is many a good year since we Zonophone "Cinch" 1910...... 2816 went to the local hop and twisted, bunny hopped, From the 'fifties...... 2818 jived or rocked; Master never could the hang of a good Notes...... 2820 old fashioned waltz or military two step, I think he Reviews...... 2821 preferred to play the records, and that my friends is A Clutch of CDs by Ernie Bayly...... 2000 another matter. 'Deejaying' and all that. But times they are a changin'; I read in a press release from The Wembley Conference and Exhibition Centre that they Now, I can't resist retelling this next story, which, if held two "contrasting dance events" in June. One Master has told it to me correctly could be embar­ featuring the "grace and serenity of the dancers from rassing for the two collectors concerned, so I will avoid Brigham Young University", well known in the United names. States of America and World Wide for their Formation It seems that "Laurel and Hardy" as I will call them, Dancing, and "dramatic Tango, spirited Espana or an. and if they object well settle it over a bowl of biscuits, all American hoe-down"; which we know is the kind of were 'junking' recently in the East End of London to thing that kindly Mr Bayly of Bournemouth likes. add to their own personal collections. All this is done However the other dance event to which "No expense with some friendly rivalry between them, and during has been spared in bringing together the entertain­ their travels, for what ever reason, they called into a ment industry's leaders from around the UK & butcher's shop. Whilst waiting in the queue to be Europe. The DJ's list reads "— and there dear reader served they witnessed a lady trying to sell the butcher we leave the direct quote prose of the PR and mar­ some 78s —and it gets better!—, the butcher declined keting world — like a (pardon the pun) Dog's Break­ the offer (perhaps his heart wasn't in it!, —I couldn't fast, names similar to Mickey Fin, Slipper Mat, Hype, resist that one. Woof, woof!!); so our intrepid pair Seduction, and an MC called Fearless. Oh! dear. But followed the lady out to her car, where "Laurel" in­ there's more and I quote "security and crowd safety troduced himself as a collector of 78s, and asked if he are always the most important aspects of any World could look at the records as he might be interested in Dance Event, the security personnel are employed to buying them. assist y o u ,...... All persons entering this event must The lady agreed to show them to him, but no agree to a full search including metal detection, anyone transaction took place for, as "Laurel" showed the found with alcohol, drugs or weapons of any kind will lady, and to which she readily agreed, he could see be refused entry." And Master grumbles about the that the records were all dished like saucers. "Laurel" restrictions placed by some organizers of record ba­ then walks away from the scene. Enter "Hardy", he zaars and vintage audio fairs! Makes those Sunday takes one look at the discs, and offers to buy them. lunch times listening to a second rate jazz band in the Money changes hands, the lady is satisfied and local pub seem like bliss. Ah! those were the days. "Hardy" is very happy with his find. "Laurel" then realizes that he had been wearing the wrong pair of Master has asked me to apologize for him, again! You (bi-focal) glasses and the warped records were in fact know the old saying "You can't take him anywhere, as flat as the day they came off the presses. Nipper. only back to apologize" — well he asks to say sorry to any UK subscriber who may have been offended by the curt use of their surname only on the last issues Sub scriptions Talking Machine Review is available by postal mailing labels. This was entirely due to an errant subscription direct from the publisher John W Booth, computer program only doing what it was told, and TMR, 105 Sturdee Ave., Gillingham, Kent, ME7 2HG. not was wanted. It is to be hoped that by the time that you read this, it will have received the PC equivalent of Four issues in Europe for £10.00. Cheques, Giro or a sharp needle and do what is wanted, that is provided Postal Orders to be made payable to Master asks it to, of course. TALKING MACHINE REVIEW. For once I’ve been allowed a tailpiece, and you will It is regretted that only cheques drawn against a UK bank find it on the last page of the magazine. This adver­ can be accepted. Eurocheques CANNOT be accepted tisement was in a magazine "Sound" and Sound Wave and will be returned. If your country allows it, we can Illustrated in October 1946, other adverts were for accept payment in all EU country bank notes. USA & Canada checks can be accepted in US$, made Decca, HMV, Columbia, and some very dodgy payable to our honorary US agent: sounding medications : But "Beltona" ?,— and YOU W Klinger, 13532 Bass Lake Road, Chardon, OH 44024, thought it was a record label! Tel: (216) 564-9340 They claimed it was good for curing all aches and Rates: Surface (non EU) £15.00 (US$25.00), pains, especially rheumatism, arthritis, and bad backs; Air: (Zone 1) US$35.00, (Zone 2) £25.00. now Tve told Master off several times for picking up Copyright© 1995 Talking Machine Review. No part of this publication may large boxes of 78-s, I suppose hell want his back be reproduced stored in a retrieval system or transmitted in any form or by any means electronic photocopying or otherwise except for study rubbing with (a) Beltona. purposes as^ermitted by the Copyright Licensing Agency.

2 8 0 5 Sorting out real names from pseudonyms seems to be one of the main preoccupations of record collectors. It is always rewarding to obtain concrete evidence that the name on the label was a real person Junkshoppers ’ and not a pseudonym. Recently, within the space of a few weeks, I acquired two copies of Piccadilly 672 by the pianist Peggy Desmond and an article about her dating from 1937. C o l u m n She was bom Marjorie Desmond about 1913 and appears to have been something of a child prodigy if the article is to be believed. She performed as a singer and dancer as a child at the YMCA. in the Strand, London and on her fifteenth birthday got a job as piano Arthur Badrock accompanist to the black American singer Alberta Hunter. The Piccadilly recording dates from about October 1930 and the details are:

Lawrence Wright PEGGY DESMOND Syncopated Piano Solo IN ISSUE 80 of TMR I mentioned Lawrence Wright the music XX3998 A Bench in the Park (Jack Yellen, Milton Ager) Picc 672 publisher and composer, and the fact that his daughter had produced XX3999 Swingin' in a Hammock a 20 page booklet about her father. Aside from his main (T. Seymour, C. O'Flynn, P. Wendling) — accomplishments Lawrence Wright managed to get his name (or As far as I know all copies use the plain, first, takes. rather, names) on record labels as artist credit on a few occasions, This is her only recording for Piccadilly which is a pity as, on the thus maximizing his publicity and his earnings. evidence of this one record, she was a very talented pianist and a Alan Williams of Derbyshire recently found a yellow and black good exponent of this particular genre. (Crystalate pressed) Currys labelled as ‘THE LAWRENCE WRIGHT ENSEMBLE’. On playing it he discovered the ‘ensemble' In February 1931, a month after the Piccadilly was issued, the consisted of two singers, a tenor and a soprano, both good following Sterno was on sale — professional singers. I gave Alan another coupling on Imperial & PEGGY DESMOND (Vocal) with Piano Accpt. (possibly herself) suggested a possible identity for the tenor, which Alan confirmed. London late November 1930 (He has a good ear for these early singers). We still don’t know the S1196-1 I Am The Words, You Are The Melody Sterno 612 identity of the soprano but our present knowledge has reached this London c. Dec. 18 1930 stage: S1240-2 Little White Lies Sterno 612 (not a record I have ever owned, but Sandy Forbes has a, copy and LAWRENCE WRIGHT ENSEMBLE TROUPE (Popular, Imperial) kindly filled in the details) THE LAWRENCE WRIGHT ENSEMBLE (Currys 54) S1195 and S1239 cannot be M. DARROLL (Currys 77 - mx 3073) traced but Sandy Darrell Richards (ten) ? (soprano) acc. by pno & vln London confirms this is the March 1921 only Sterno by presumably Richards only on matrix 3073 Peggy Desmond

Later she did 3072 Omaha Popular ? Currys 54 the variety 3073 Playthings Popular ? Currys 77 circuit with an 3074 The H..That Means Heaven To Me Popular P1131 Ariel 4638 (anon) act called the Terry Sisters, DARRELL RICHARDS ten. acc. by piano London March 1921 then joined George Royles’ 3084 Blue Bird Popular P1137 Im 992 Ariel 4638 (anon) ‘Fol-De-Rols’ Carissima and broadcast with them during 1935. By 1937 she LAWRENCE WRIGHT ENSEMBLE TROUPE (Imperial) was on radio as a single THE LAWRENCE WRIGHT ENSEMBLE (Currys 54) act and signed up for as for 3072 & 3074 London April 1921 television. 3108 Silver Star Popular? Im 992 Currys 54 PEGGY DESMOND The compositions are of course all by Lawrence Wright under his Other pianists whose records have come our way during the last year main pen name of Horatio Nicholls. have proved more difficult to identify. Consider the following—

Clearly there is more to be learned. Whether the ‘troupe’ toured LEONARD PEARSE piano solo with Sam Browne vocal the Halls singing the master’s songs I have no idea. Miss Wright London 9 June 1932 knew nothing of her father’s ‘recordings’. JW737-1-2 There's a ring around the moon Eclipse unissued? It is highly unlikely that Darrell Richards knew he had become M. JW738-1-2 Easy come, easy go — Darroll on Currys 77, nevertheless by 1931 he had changed his name to Darroll Richards and recorded for Sterno. In April 1932 he THE TWO EDDIES piano duet London 5 July 1932 recorded for Crystalate appearing under his own name on Imperial JW737-4 There's a ring around the moon (Goodhart-Nelson-Lewis) and as Robert Chester on Eclipse. Eclipse 234 Lawrence Wright's other appearances on record labels were as an JW738-4 Easy come, easy go (Kennedy-Winston) — alleged band leader on Homochord, Regal and Parlophone. Only the Takes -3 also made at this session and possibly issued. Regals from 1922, as HORATIO NICHOLLS’ DANCE ORCHESTRA, state on the labels — (Conducted by the Composer). The only familiar name amongst these is that of Sam Browne. Both these and the Parlophones are likely to be studio groups but the Whether Leonard Pearse is a real name I do not know. The name Homochords are different. Some years ago the late Ted Walker and certainly does not figure in the British Dance Band discography nor I combined our knowledge of the Homochord LOO matrix series in Ross Laird's recently published book of pre 1935 non classical with the aim of arriving at a complete listing. That is still some way pianists. Neither he nor the Two Eddies broadcast on the BBC. off but Ted did have a test pressing for the session on the 14th Whether either of the first two takes will turn up on Eclipse 234 September 1923 which produced the eight titles labelled Lawrence is unlikely but always possible with Crystalate . Wright's Dance Orchestra The test was labelled Marius B. Winter's The Two Eddies record is an interesting one and I asked a pianist Dance Orchestra. friend of mine, John Watson, for his opinion : “Both sides are four hands on one piano. The arrangements work quite well and do not

2806 tend to overload, unlike some duets. ‘Easy Come, Easy Go’ is the BAND OF THE ARSENAL FOOTBALL CLUB better as it seems to have more continuity. In a record of this type it dir. J.D. Kitchenside is inevitable that the Secondo will spend much time providing London June 1 1934 rhythmic support for the fireworks played by the Primo. The content 1913 Blaze Away (Holzman) Eclipse SC 145 and style of playing are typical of this period They are very together 1914 Semper Fidelis (Sousa) — and produce a tight sound which gives a very professional quality. In 1915 With Sword A nd Lance (Starke) Eclipse SC 153 terms of the content of the Primo I am reminded of Raie Da Costa. 1916 The Thunderer (Sousa) — The runs, octaves, and some of the breaks recall her style and, just as 1917 Triumphant (J.D. White) Eclipse SC 155 important, her touch. Towards the end of ‘There's A Ring Around 1918 Orion (Jacques Lafont) — The Moon’ there are some quite distinctive harmonic passages. One Two takes were cut for each apart from 1917, just one take. My three would have expected the pianists to have made more records, either copies used the plain, first take on all six sides. as duettists or soloists. Unfortunately it is unlikely we’ll ever know Incidentally the blue SC label was for ‘Standard’ records and not who the two pianists were”. ‘Sacred’ as some people think, not surprising really as invariably the ones that turn up are ‘Church Recording with Choir’ or Master John Laddie Ray Dove, Chorister. Resist the temptation to throw them aside as soon as you see the blue label. For accordion solo collectors there are several by ‘Enrico Ficosecco’ which I think is J.B. Cuvelier and In a previous issue I asked whether anyone could tell me whether Petro Calina is probably Tony Lucassi. On SC50 you’ll find the Laddie Ray was a real name or a pseudonym. His piano recordings singing and banjo playing Mitchell Brothers, members of Carson turn up on Broadcast and Rex. My six readers were silent on this Robison’s Pioneers. If cinema organ playing is your fancy then subject I had hoped Mr Laird might throw some light on the Reginald Foort turns up as Michael Cheshire and Charles Smart as mystery in his recent book ‘Tantalising Tingles’ but he simply lists Roland Blair. Tarrant Bailey Jnr the banjo soloist can be found under them as Laddie Ray. the name Terry Harrison. You will even find a couple of issues Recently John Watson and I spent a day with a professional pianist labelled The Albert Hall Orchestra, conducted by Albert Hall which who has a particular interest in the early syncopated style of playing. is a good example of the sort of deliberate mislabelling that started Following a conversation with him and a re-examination of the off this particular piece. records we have we are now certain that Laddie Ray was a pseudonym used to cover the identities of at least three pianists, the identities of two of whom we know. When we’ve sorted them all out Some early American Columbia labels we’ll pass on our findings. If you have any opinions on any of the As some of you prefer to look at labels rather than read my boring records under this name we would love to know. prose I am including pictures of some less common American Columbia labels. The one depicting Margaret Woodrow Wilson (CoL A1685) was pressed for the Panama Pacific International Pity the poor punter Exposition of 1915. The others, which I would estimate as dating One is always suspicious of records which purported to be played by again from around 1915 were aimed at the German immigrant or connected with a famous known person, place or organization population in America. The picture of the widow at her husband’s with the aim of persuading the punter to part with his money in the grave is self explanatory but the German caption on the label (CoL mistaken belief he was getting something he wasn't The Sound E2943) is not too clear. I tried it on one German collector who was Recording Co. were experts at this. Some of the artist credits on visiting me and his translation was no better than mine. It would Popular records are absolute gems. ‘Mr. BILLY MERSON’S appear to say ‘For the good of German & Austrian soldiers blinded Greatest Pirate Song’, ‘J.W. RICKABY'S Latest’, Miss FLORRIE in the field of battle’. The caption on ‘Das Ist Der Tag Des Herrn’ FORD’S (sic) Sparklet’, ‘Featured by MISS ELLA RETFORD’, is probably ‘For the good of German and Austro-Hungarian War ‘ERNIE MAYNE'S Topical Food Number’ etc. None of these of needy’. I’ll pass on the third example which concerns mothers back course, were recorded by the named artist, but at a glance they are home with their bonny babies. Was a percentage of the price of these quite misleading. Other Populars included a potted review on the records paid to good causes I wonder? label. ‘One of the Features of “Gerrard 5064”. Replete with Life and Colour With Full Orchestral Accompaniment. By those Expert Revue Artistes Messrs H. Cove & W. Thompson’ — all this for a Albert Wiederhold (TMR 88) vocal duet version of ‘Aba Daba Honeymoon’ on P606. I always remember some 40 odd years ago finding a copy of Scala A collector recently asked me whether the tenor Cynlais Gibbs had recorded for Velvet Face. (He had, one coupling). While looking this 566 ‘The Gospel Train’/ ‘The Church In The Wildwood’ by the Sacred Harp Quartette (New Orleans). I rushed home expecting to up I came across some more London recordings by Albert Wiederhold. To those in Issue 88 can be added — hear an authentic black vocal quartet How disappointed I was. MISS L. TRIMBLE & MR. A. WIEDERHOLD Much later I learned it was from a 1922 American Vocation by the Criterion Quartette, a white group consisting of John Young (ten), Horatio Rench or Frank Mellor (2nd ten), George W. Reardon (bar) List To The Convent Bells VF 1352 and Donald Chalmers (bass). Who at Scala I wonder thought up that What Are The Wild Waves Saying — authentic sounding name? Sympathy VF 1370 Arsenal !! (rev. Henry Blann) as HERBERT STEWART For the past few years, amongst the heaps in my garage, were a ‘When I Lost You’ , issued twice on Winner, was also on VF 1340 couple of blue label Eclipses credited to the ‘Band of the Arsenal backed by ‘Just One Word Of Consolation’ AB Football Club’. I had always assumed that these were by a studio band with no connection to the Club other than the name on the label. Rick Hardy, a record collector and Arsenal fan, was recently SOUVENIRS FOR A rooting through the garage and was more than pleased to find the two Eclipses (at under a Pound for the pair!) and told me that Arsenal CENTURY was one of the few football clubs to have its own band, he recalled A short history of Lawrence Wright being taken to the ground by his father and being thrilled at the sight composer and publisher o f songs the and sound of the band parading at half time under its director J.D. Kitchenside. Sure enough the recording file gives Kitchenside’s World still sings... name. Available by post direct from I know that there is quite an interest in any recordings with a Mrs Lawrette Williams, "Ailante", sporting connection so here are the details of the Arsenal Band’s 5 St Gildas Close, Langport, Somerset session. Rick thought he might pass them on to the Club Museum. TA10 9QH If so he might like the third which I recently acquired. £2.25 includes postage in UK.

2 8 0 7 2808 We hope that the Discovery/Night and Day ar­ rangement will give us a chance of hearing some of the Quebec singer-songwriters who are maintaining and enhancing the French language, so far from its roots. Meanwhile, we are confronted with another kind of French, much harder to understand even for the most Ralph Harvey fluent French speakers than the language of Quebec, Montreal and Gaspesie. We are now talking 'Cajun', the word itself a cor­ here is an American flavour about this ruption of "Canadien'' [From ”Acadia", the original Tissue, and even this column has an name for Nova Scotia. -Ed.]. How French-speaking arome american, but not quite in the way people reached Louisiana from Canada is a blight on that most Europeans think of British colonial history and how they were received by quintessential American music. We're the French-speaking aristocrats and 'wannabee aris­ tas', themselves frequently of mixed blood, is no credit talkin' Cajun here. to either. In Louisiana, the unwanted Cajuns were given a The most recent arrivals from the West Country importers, Discovery Records of Pewsey in Wiltshire "homeland" (pre-President Mandela South African style) in the swamp lands away from the centres of reveal a number of compact discs labels hitherto un­ French culture in the state, such as Nouvelle Orleans available in the UK. An amazingly high proportion of these are transfers from 78rpm catalogues close to the (New Orleans). The Cajuns became a rural underclass whose richly-spiced music and song were ignored and hearts of many readers of this magazine. Long may the certainly not recorded until the late 1920's. In Cajun policy continue! Discovery imports include items handled by the French Distribution company Night, music we find old French dances from Brittany, Vendee, Aquitaine and elsewhere, in the company of and Day, not, in view what follows, Nuit et Jour. R&B, Country Music and occasional backward glances at Africa. The current rearguard action being fought on behalf A two CD set released in France by Fremeaux and of the French language in the face of American in­ cursions, notably in the commercial sphere, is not Associates, under the direction of Noel Herve, opens with what is believed to be the first "Cajun" recording simply a matter of xenophobia on the part of a few ever: made in New Orleans on April 27th, 1928. reactionaries. The French language is under threat. In Accordion, guitar and vocal by Mr and Mrs Joseph the past, foreign influences from North Africa, the Falcon, Lafayette; Let's go to Lafayette. The music is full of Arabic 'Bled' (village or out of the way place) or 'toubib' (doctor) have influenced the language in much life and the sheer joy of living, coming from some of the poorest people in any "Western" country at that the same way that words from India have come into time. Only the well-off bemoan their lot in song! British English. The matrix numbers of the 36 titles in the collection What is new in the present conflict is that the lan­ guage invasion which is effectively American is an show that most of them are of Victor and Columbia (US) origin. It is a pity that no catalogue numbers are aspect of cultural cleansing and economic imperialism given. which seeks to Americanize a nation's way of life for economic gain. There is a rawness in the content of the first CD Not that the French themselves are entirely innocent which makes it largely of academic interest, but by the victims. It is 'young' to rebel against the language of second we are in the late 1930-s. Hillbilly and Jazz have parents, it is 'chic', especially in media circles to show begun to make their mark and there are some really awareness of American as the language of international exciting tracks, a few in English too. advertising and media manipulation. It is 'contem­ There are the blackberry Ramblers, harmonidst and porary' to be able to show off in the language which, it singer Joe Werner (Wondering; She's my flapper and my says itself, is conquering the world through informa­ baby), 'Beethoven' Miller and his Merry Makers, Nason tion and other technologies. Absheer, The Rayne-Bo Ramblers and another set of Listeners to public service radio in France, let alone Rayne-Bo Ramblers directed by Leroy 'Happy Fats' le the commercials, will know to what ridiculous lengths Blanc, no less. Americanisms are being taken, where they simply The instrumental bases of these groups are accor­ replace French expressions, often inaccurately. To an dion, harmonica and violin, and often very swinging even greater extent has this been obvious since the they are. The rhythms are waltzes, polkas, one and former Minister of Culture, Monsieur Jacques Toubon two-steps and blues. No collector of French songs in introduced legislation on this subject. French media the broadest sense should miss what the New World people, anarchic by nature, have rebelled against the has to offer through its Quebec and Cajun communi­ modest requirements of the Minister by introducing ties. Jean Buzelin is responsible for the compilation more Americanisms than ever. Radio Bleue, the sta­ and detailed notes in French with a thoroughly tion for the over fifties, is no less guilty in this than readable translation. Cajun: Louisiane (CDx2) 1928 - other stable-mates at Radio France, 'with it' France 1939, Fremeaux FA019. Inter and the 'intellectual' France Culture. What is also apparent in the present struggle is that Our forum must come to an end for this issue and we the French in Canada, much closer to the American hope that you have enjoyed our small step across the language threat than those of Metropolitan France, do Atlantic. We shall soon be tackling a number of French not so readily succumb to this particular form of Selection du Reader's Digest collections, available only for snobbery and make their objections heard through the those who travel to Paris, and reporting on the first CRPLF (Communauti des Radios Publiques de Langue fruits of an exdusive contract between EMI Music and Franqaise). French singer-songwriter Charles Aznavour. RH.

2 8 0 9 TM R 9 0

Diary Looking a t Labels More labels to look at this issue, from Eugene Scranton via Don Taylor, Marc Monneraye, Dave Mason and my own collection. The three from Gene and Don include one very All entries in the diary column are accepted free o f charge, strange looking "Nipper" on HMV DA 1351. The and represent those events that are o f particular interest to typography gives some due as to its origins —pre­ readers. If the sales stall o f this magazine is planned to be in sumably a none Hayes pressing, but with the label in attendance then the event is shown in Bold type a n d in dicated English and absence of pressing plant details, there is by ¶ You are advised to check with organizers before setting out little else to go on. One expert has proffered the thought on a long journey. No responsibility for incorrect data or that this label was used in eastern Europe, or Italy in the cancelled events can be accepted by TMR. mid to late 1940's. Just why is Nipper the dog looking to the right instead of the left, other than because of some ¶ Sunday 10 September 1995 printer's error? There MUST be other examples 09:30-15:30 Wimbledon Record Bazaar, Rough Lane, SW17. Adm: 9:30am somewhere although I haven't seen them. -£2.50 ; 11.30am -70p. B Wilkinson, (01689) 846516 'The IMP is a label with which I am unfamiliar, . Saturday 23 September 1995 Anyone anything to add to our knowledge? 10:00-16:30 C.L.P.G.S. Midland Area Group Annual Phonofair & Record Collectors’ Bazaar. St Matthews Church Hall, Wolverhampton. 10am - 4pm. More MUSOLA, again (each time I typeset that word, Admission £1.00, Details from Geoff Howl., (0121) 556 2434. I think of a breakfast cereal; Why? -ED.), this time from Marc Monneraye. He points out that these records ¶ Sunday 24 September 1995 were pressed in Germany from Homokord masters for 09:30-16:30 Fairfield Halls, Croydon, Record, Gramophone and Talkinc Machine Fair. Adm: 9:30am - £2.50; 11.30am -£1.00. Details (01732) the Amsterdam Musola Co. and provides two photo­ 863955 see advert graphs to prove it. On both copies is the coded dating system giving B11F for recording of February 11 1920, ¶ Sunday 29 October 1995 10:00-16:00 Birmingham International Record Bazaar, National Motorcyle and stamper dates of 7.1.21 (side A) 8.9.21 (side B). He Museum, Junction 6 - M42/A45. Adm. £2.50 -10am £1.00 after Noon. proposes the theory that Musola was a 'crypto-label' for Derek Spruce (01923) 237794 See advert Homokord, not especially for France (and anyway as he says "Love's own sweet song" is hardly a typical French Sunday 05 November 1995 10:00-18:00 Musica Mechanica, Internationale Fair for Mechanical Music chanson). As to the period of time that Musolas were Instruments. Rheinhalle, Geisenheimer Strasse. 22 Rudesheim am Rhein, Germany. All forms of mechanical music: including Gramophones, published, all of the few Mussola Amsterdam labels he Phonographs, 78rpm discs, cylinders, vintage radio, musical boxes, has seen were pressed in 1920-1921. There was French orchestrians, books, ephemera, etc. Admission DM 5,00 (stalls DM 25,00 per meter) Details: Siegfried's Meehantsches Musikkabinett, Oberstrasse 29, Musola Company but that he feels had disappeared Rudesheim am Rhein, Germany. Tel: 00 49 67 22 4 92 17 (Fax: 00 49 67 22 with the First World War. 45 87). Isis As there is not an illustration of this obscure ¶ Sunday 12 November 1995 label in Don Taylor's book, I thought I would provide 09:30-15:00 Wimbledon Record Bazaar, Rough Lane, SW17. Adm: one here. The Oxford based company used a (naturally) 9:30am -£2.50 ; 11.30am - 70p. B Wilkinson, (01689) 846516 blue and white label. Isis being the name given to the River Thames in the stretch that passes through Oxford. ¶ Sunday 03 December 1995 10:30-11:00 N.EC. Christmas Special: Electrical & Mechanical Antiques I know of no recordings of importance on this label, but and Collectables. (From the organizers of the National Vintage Communications fair) National Exhibition Centre, Birmingham. would welcome details from anyone who has examples Admission 10-30am - 5pm. Details - 2-4 Brook street Bampton, Devon, in their collection. EX16 9LY (01398) 331532

Sunday 31 March 1996 10:00-18:00 Musica Mechanica, Internationale Fair for Mechanical Music Instruments. Rheinhalle, Geisenheimer Strasse. 22 Rudesheim am Rhein, Germany. All forms of mechanical music: including Gramophones, Phonographs, 78rpm discs, cylinders, vintage radio, musical boxes, orchestrians, books, ephemera, etc. Admission DM 5,00 (stalls DM 25,00 per meter) Details: Siegfried's Mechantsches Musikkabinett, Oberstrasse 29, Rudesheim am Rhein, Germany. Tel: 00 49 67 22 4 92 17 (Fax: 00 49 67 22 45 87).

2810 Hardy's contention in TMR 89 concerning the singer Ruby Helder. If you haven't read it, well it is fasci­ nating stuff. A case of you pay your money and make your choice, or not, as the case may be. Regardless of what you may or may not believe, there is an excellent discography of Ruby Helder/Emma Jane Holder/Mrs MagazinesOther Chesley Bonestell, or whatever the person's name was. Hillandale News No.204, June 1995. reviewed by John W Booth In The Groove, June 1995 features on the front cover a rare photograph (courtesy of Ron Dethlefson) of what With the demise of Storyville as a bimonthly or is understood to be Edison's workshop for the manu­ quarterly magazine, jazz and blues fans are facture of Diamond Disc diaphragms in the period welcomed to sample VJM s Jazz and Blues Mart. before December 1914. This hefty publication is co-published in England and the USA. The first 19 pages-of issue Heard of Cheney talking machines? No, nor had I number 98, Summer 1995, contains much of until I read the summer issue of Victrola and 78 interest to collectors who want to read Journal. They were subject to litigation by Victor in substantial articles (and I assume that most of 1915 through to 1921, during which time they con­ you fall into the literate class — otherwise you tinued to manufacture! Obviously Victor could not wouldn't subscribe to TMR — even though you have been strong in their case or I suppose they would may not be interested in the jazz and blues have fought harder and quicker, they (Victor) lost. In genre). The rest of the 108 pages are devoted to the same issue of V&78J is an explanation of Victor's auction lists, wants lists etc. from not only both Electric Motors by Ron Pendergraft, which whilst most of the countries mentioned above, but also other, collectors in the UK concentrate on clockwork ma­ lands. The editor of VJM Mark Beresford wrote chines often to the exclusion of other drives, the de­ to me " I think we long suffering editors should velopment of the USA Victor electric motor is an im­ endeavour to scratch one another's (sic) back, as portant point in talking machine history, as it influ­ we all need to increase our circulation in the face enced most other countries developments of gramo­ of recession, old age., ...... that way we may keep phones and the recording speeds. V&78J is edited by the wolf from the door for that little bit longer." Tim Gracyk, of Roseville, California, USA, who has As Nipper might write : "The wolf already lives agreed to TMR co-publishing some material from his here!!". VJM S Jazz & Blues Mart, PO Box 78, magazine, of which we are happy to present an offer­ Nottingham, NG6 8RY or USA: Russ Shor, PO ing elsewhere in this issue. Box 8184 Radnor PA 19087. John Wrigley's The Historic Record & AV Collector From vintage jazz to Vintage Light Music. Issue 83 has Quarterly for July 1995 continues with Peter a tribute to Sir F. Vivian Dunn, who died on April 3rd, Copeland's scientific approach to the reproduction of 1995. Sir Vivian was President of VLMS, and will be "Acoustic Recordings" [I have to declare a prejudice sadly missed by the society and many other fans of against this — admittedly — venerable term, surely ALL light and military music. Also in this issue is an article sound recordings of performances by people, or animals, are about W.H. Squire reproduced from 1917 (the subject 'acoustic/. They may have been recorded mechanically, of a piece in TMR88 by the late Ted Walker). There is electro-mechanically, electronically or digitally. But I suppose also an intriguing photograph from The Melody Maker of I will be fighting a lone battle in an effort to change "acoustic" March 1926, featuring The Ten Melody Maids whom it to "mechanical". JWB]. Also now reached part 5 is a is believed played in Margate, Kent, and London under series on the cinema organist. Collectors of the obscure the leadership of a Miss Selkirk, formerly of Hilda will find a listing by Raymond Welch-Bartrum of Ward's Lady Syncopaters. Does any TMR reader have "Force" records, a series of 36 small discs given away in any more to add to this? VLM Society,4, Harvest Bank the middle 1930-s with Fincken's famous Force break­ Road, West Wickham, Kent, BR4 9DJ. fast cereal, with the distinctive 'Sunny Jim' character on the packet. There is also a list of some pseudonyms Readers of TMR who are members of CLPGS., will compiled by Peter Cliffe of mainly dance bands. have seen that there is a counter argument to Rick

2811 One song included in Volume One Had Glamour (1944). Everyone who may itself be worth the price of that loves Tin Pan Alley recordings THE volume: "Since Dolly Dimples should know about Marks' two Made a Flit," sung by Grace Cam­ books since they are packed with (ALMOST) eron. This is a Columbia disc, information available almost no­ A-1205 (mx 38132-2), recorded in where else. My library of theatrical 1912. The song is taken from the dictionaries and encyclopedias COM PLETELY musical Piff !! Paff !! Pouf !!! filled in the rest. I must now explain which starred Eddie Foy. It was this article's title. I had intended to produced by F.C. Whitney for the annotate these lyrics completely but ANNOTATED Casino Theater in New York and I admit failure on one point. It is in began April 2, 1904. The book was the opening passage:

by Stanislaus Stange, lyrics were by Dolly Dimples in the chorus DOL LEY William Jerome, and music was by She had served her time. She joined it when Kerowsick brothers Jean Schwartz. The creative team of They were in their prime Jerome and Schwartz wrote many I cannot identify the Kerowsick DIMPLES hit songs, including "Rip Van Win­ brothers, which happens to be the kle Was A Lucky Man," "Bedila," song's first allusion. I should point David Banks and, perhaps their best remem­ out that I have not located a score of bered hit, "Chinatown, My China­ I have been listening to four CD Piff !! Paff !! Pouf !!! and I sets issued by Pearl titled Music town." The show Piff !! Paff !! transcribed the lyrics after From The New York Stage Pouf !!! was their first collabora­ numerous listenings, so I cannot be tion on a Broadway musical and it (1890-1920). Each volume contains certain how the name should be three CDs, so the entire set consists proved the hit of the 1903-1904 spelled. When I first heard the of 12 CDs. The set is indispensable season. The show's big numbers song, I didn't give the brothers included 'The Ghost That Never for anyone interested in the much thought since I was certain I American musical or pioneer re­ Walked" and a huge production knew them, but I was mistaken — I cordings. The CDs feature creator piece called 'The Radium Dance." was thinking of the Kirlafy recordings from American stage The plot concerned a widower who Brothers, who fit the context nicely. musicals and reviews produced could not inherit his wife's fortune Anyway, most audience members from 1890 to 1920. Included are the until his four daughters are mar­ in 1904 must have known who the ried. only known recordings of Jessie Kerowsick (?) brothers were. The Bartlett Davis, Eva Tanguay, and Grace Cameron was cast as one of point is that they were in then- Williams and Walker singing as a the daughters. Her recording from prime long before 1904. In other this musical is vibrant and amusing. team. The set includes most re­ words, Dolly has been in the chorus cordings by George M. Cohan, Her delivery has punch, her timing that long. Raymond Hitchcock, May Irwin, is impeccable—you get the feeling I will estimate that the Kerowsick and Chauncey Olcott. We get rare of a strong theatrical personality brothers were in their prime in the titles from Nora Bayes, Jack Nor- coming across the footlights. Born mid-1880s, which is about the time worth, Fanny Brice, Eddie Cantor, in Iowa, Grace Cameron shifted the Kirlafy Brothers were in their Al Jolson. Every American artist back and forth between operetta, prime. I want to say the song who appeared on stage in those two grand opera, and musical comedy. alludes to the Kirlafy Brothers. The decades—whether in a musical or She made nine Edison cylinders Kirl afy Brothers — Bolossy (1848? review—and then recorded a and two disc titles for Columbia. -1932) and Imbre (1849? -1919) — number from it seems to be repre­ Three Cameron recordings are in­ produced spectacles based on sented. cluded in the Pearl series. The song popular themes or stories. They This set is a dream come true. I "Since Dolly Dimples Made A Flit" worked in circuses and at world have always been interested in tells a familiar tale. Dolly had been fairs and expositions. Their stage personalities and prized in the chorus for years, and when productions were immense "creator" records above all others. the author gives Dolly a few lines to choreographed events using casts Most records in this Pearl set are speak, she thinks she's the star. of thousands, mechanical illusions, difficult to find. This is especially In telling Dolly's tale, the song and animals of every species. Titles true for the performances included alludes to many topical events and of their productions include in Volume One, which brings to­ real names. When playing the Pearl Around The World In 80 Days; The gether more Berliners, pre-dog set to friends, I play this selection Chariot Race From Ben Hur; and Victors, and "only -one -known -to first. Since I am interested in stage Nero, Or The Destruction Of Rome. -exist" cylinders than any other history, I love the theatrical refer­ In a later era they would have compilation. After years of col­ ences in the song and started worked in Hollywood! These lecting, I have only a tiny number of identifying for friends some of the productions might account for the originals. The producer of this set, actors and actresses named in this next lines regarding Dolly Dimples: Jack Raymond, drew from his own song. This led to my annotating the "She carried a spear/For many a impressive collection and borrowed song's lyrics. Turn of the century year." Although I am tempted to from collectors like Martin Bryan, slang posed my greatest challenge. say the name in the song is Kirlafy, Paul Charosh, Bill Bryant, the late The Random House Historical Dic­ that is not what is said. Grace Milford Fargo, Larry Holdridge, tionary of American Slang is being Cameron's enunciation is superb and a dozen others. The transfers published but only Volume I is out and no "1" is pronounced (is the "1" are good and speeds sound correct so far, so I could only check in this silent in Kirlafy?). I should also to me. I can not put a value on the source up to "G." Edward B. Marks point out that Cameron clearly pleasure these Pearl CDs give me. helped with his invaluable books speaks of "Dolly Dimples" though They All Sang (1934) and They All the CD notes give the name "Dolly ... CONT. PAGE 2 8 1 7

2812 281 5 ALBERT WHELAN

TWIN

2814 CINCH

BRITISH ZONOPHONE COMPANY

2 8 1 $ CINCH

2816 FROM PACE 281 7...

Dimple." I assume the Columbia She's never heard of IRVING, (15) British meaning, unless one is under 21! -Ed.] label gives the name as Dimple and Said his name she couldn't trace. (11) THE LINE The “line" is the chorus line. Dolly is no longer in the perhaps I should dte the title as the The only Irving that she knew chorus, which means she can ramble up and She said was an IRVING PLACE (16) down the line (stage front). The “line" can also be CD set gives it, but all reference a city street (or even a trolley [tram] line) and one books refer to Dolly Dimples so I And IRVING JONES who played the rambling up and dowi that line might encounter give the tide accordingly. I would bones.(17) boot blacks on the comer, as lyrics suggest She said she'd give a thousand (12) SHINE love to see the score for Piff !! This word has several slang meanings. Here it Paff !! Pouf !!! to check this and For a song like "NANCY BROWN" (18) means to scintillate or sparkle. One might yell to a pretty girl passing by, “Shiner It also refers to a several other things. And just to have a city home manipulative attempt to curry favour, as in “He She took A FLAT uptown (19) tried to shine up to her." Finally, it was the cry of Whoever the Kerowsick Brothers a bootblack drumming up business. were, they should be in some But no one in the company knew his (13) MRS. BIXBY reference book somewhere. name. Mrs. Bixby of Brooklyn owned the famous Casino Oh-ho! Theater, where Florodora had its original New Perhaps a reader will recognize the York run. The theatre’s subsequent history as a name and can provide some real estate investment is complex. It was engaged by the Sire brothers, theatrical information. Meanwhile, Dolly will Since Dolly Dimples made a hit speculators who sublet the Casino to producer There's been an awful change. Charles Lederer. Eventually lawsuits were filed have to remain (almost) completely and eviction notices were served. annotated. Since someone told her (14) SHUBERT BROTHERS Since Dolly Dimples Made a Hit It was time to star, Lee Shubert (1873-1953), Sam Shubert Wants to travel in a PULLMAN CAR.(20) (1876-1905), and Jacob Shubert (1878-1963) secured the Casino Theater for themselves during Dolly Dimples in the chorus Mr. Pullman couldn't stand for her a little the litigious period mentioned in the note above. This was the launching pad for their fabubus She had served her time. bit careers. They produced a string of hits and She joined it when KEROWSICK So in a Harlem flat she's waitin' managed to book other hit shows into the Casino. Piff!! Paff!! Pouf!!! was not a Shubert BROTHERS (1) For an offer from CORSE PAYTON (21) production but it played at the Casino. Mrs. Bixby was so pleased by the success of the Casino that They were in their prime. Since little Dolly Dimples made a hit. she gave the Shubert brothers an extension on She carried a spear their base. For many a year. (15) IRVING Contented in the back row (1) KEROWSICK BROTHERS Sir Henry Irving (1838-1905) English As I explain in the introductory remarks above, the Shakespearean actor-manager. With her EIGHTEEN PER A WEEK (2) exact spelling of this name is unknown since I have never seen the printed lyrics. (16) IRVING PLACE Until the night the author This street bordering New York’s Greenwich Village Handed her a line to speak (2) EIGHTEEN PER A WEEK and downtown, was named after Washington This is a modest salary. Bit players received Irving, who had lived in the area. It was a lively And little Dolly Dimples made a hit. less— ten per week street at night Delmonico’s Restaurant was on Irving, as was the popular ballroom Irving Hall and Oh! (3) LIL RUSSELL (1861-1922) even Con’s Saloon, which was fictionalized by the Lillian Russell— "Airy Fairy Lillian"— was First Lady writer O’Henry as Kenealy s in The Lost Blend of the American musical stage, appearing in (O’Henry lived across the street). Since Dolly Dimples made a hit works by Gilbert and Sullivan, Offenbach, Audran, many others. Her 1902 recording of “Come (17) IRVING JONES There's been an awful change. Down, Ma Evenin’ Star” is included in Volume I of This black and stuttering comedian and early the Pearl set ragtime vaudevillian was famous in the 1890s. Her mother really wouldn't know her now He wrote the songs “I’m Living Easy," Take Your She gives the other girls the icy bow. (4) WOLFED THIS TOWN A BIT Cbthes and Go," and others. He never recorded. When a show was a hit and was likely to be sold She says, "LIL RUSSELL and myself (3) out, one had to “wolf a ticket which usually (18) “NANCY BROWN" Have WOLFED THIS TOWN A BIT." (4) meant getting one through a friend who knew the The song “Nancy Brown" was composed by Clifton manager. A star with a so Id-out hit had “wolfed Crawford in 1901 and was introduced by Marie Says, "NOW I'M THE REAL TABASCO(5) the town." Cahill, who recorded it for Victor in 1917 (the performance was never issued). Did Victor make And it's up to DAVE BELASCO . . ." (6) (5) I’M THE REAL TABASCO an earlbr recording of it? Columbia’s 1904 Since little Dolly Dimples made a hit. Tabasco Sauce was created in Louisiana by. catalogue lists the song on disc #856 but the Edmund Mcilhenny, who formulated the recipe in singer is not identified — does anyone know who 1869 by using red hot peppers. Imitators quickly it is? Sequels and spin-offs are nothing new in followed— as did lawsuits The public was urged show business. In 1904 Marie Cahill starred in a She says that CHARLIE FROHMAN (7) to distinguish between the "rear Tabasco and musical called Nancy Brown based on the song, Wants her signature for life mere imitations. Like the sauce, Dolly Dimples and she interpolated Cole and Johnson's “Under was hot (i.e. a stage hit) and was the "real" thing. The Bamboo Tree" into the score (in 1902 she And that another certain party had interpolated the song into Sally In Our Alley). 6) DAVE BELASCO (1859-1931) Volume I of the Pearl set features Cahill singing Wants her for his wife. David Be la sco was an actor, playwright, producer “Under The Bamboo Tree." The score of Nancy But she's too smart. and director. He dressed like a priest and was Brown was by Henry Hadby, who later composed known as the Bishop of Broadway. With John symphonies, overtures, songs, and even an opera Oh! Luther Long, Belasco wrote Madame Butterfly and for the Metropolitan Opera. He founded the San The Girt O f The Golden West, and Puccini based Francisco Symphony Orchestra. She loves her art. his operas on these successful plays. Belasco directed the Metropolitan Opera premier of (19) SHE TOOK A FLAT UPTOWN Puccini’s La Fancuilla Del West. This has a double meaning. “Flat" [the British] refers She can't see LESLIE CARTER and DUSE to a housing unit but was also slang for a foolish (7) CHARLES FROHMAN (1860-1915) person, or a sucker, which explains the next line. is but a fad (8) (9) Producer Charles Frohman gave the American But when she speaks about herself premiers of plays by Oscar Wilde, Sir James M. (20) PULLMAN CAR Barrie, Arthur Wing Pinero, Somerset Maugham, George M. Pullman (1831-1897) designed the She says, "I GUESS I'M BAD!" (10) others. He was manager for John Drew, Ethel railway train carriage with the folding upper birth Barrymore, Maude Adams, and other celebrities. and extensible seat cushions that make a lower And everybody seems to think the same. He perished on the liner ’Lusitania’. berth. He invented dining cars, chair cars, and Huh-huh! vestibule cars. Great stage and opera stars often (8) LESLIE CARTER (1862-1937) had their own Pullman Cars equipped w ith all the This green-eyed, red-haired spitfire (“One shade comforts of home. They were hotels on wheels. hotter than Titian," according to a Is there possibly a double entendre in the line “Mr. Since Dolly Dimples made a hit contemporaneous review) gave sizzling Pullman couldn’t stand her for a little bit?" There's been an awful change. performances in Zaza (1899) and Du Barry Pullman might prefer a horizontal position with (1901). The expression “can’t see* should be this former chorus girt. Now when she rambles up and down interpreted to mean Dolly fails to understand Leslie Carter’s popularity. (21) CORSE PAYTON THE LINE (11) The actor/manager Corse Payton (1867 -1934) was Boot blacks on the comer holler, "SHINE!" (9) DUSE known as T h e World’s Best Bad Actor." He Eleonora Duse (1859-1924) was considered, along toured with a company made up, for the most (12) with Sarah Bernhardt, the greatest actress of her part, of familly members although Dorothy and era. She appeared in plays by Ibsen, Lillian Gish toured with him at the onset of their MRS. BIXBY doesn't seem to mind the Maeterlinck, D’Annunzio and Sudermann. Some careers. He produced over 300 plays. boys a bit— (13) considered Duse a member of the verismo school whereas Bernhardt was more classical in style. ***************************** Though she's been engaged by others (10) I GUESS I’M BAD! David Banks lives in Novato, Califor­ She's now with the SHUBERT BROTHERS Her and Michael Jackson! The slang had about the (14) same meaning in the USA then as it does today. nia, USA. ©1995. A person who was unbeatable in a particular field Since little Dolly Dimples made a hit. was formidable or “bad." [Quite the opposite of its

2817 Red was the moon/Ring on a ribbon (DB4137 or F r o m t h e 'f if t ie s 45DB4137) and accompanied by the Ray Martin Orchestra: J o h n W Booth Band of Gold/Such a day (So ein tag) (DB3725 or 45rpm Barbara Lyon SCM5232) arbara Bebe Lyon died at the Entertainment Artists Jim; I'm just wild about Harry/Johnny is the boy for me; B Home at the age of 63 in the early part of July. Bill. (Ep "My Four Friends" SEG7640) Although perhaps best known for her part in the The birds and the bees/Puppy love. (DB3786 or 45rpm long running radio comedy series 'Life With the Ly­ SCM5276) ons', written by her mother, the ex-Hollywood actress Bebe Daniels and starring her father (equally ex- with The Shepherd Boys: Hollywood) Ben Lyon, Barbara was a pleasant singer A heart without a sweetheart/Its better in the dark and after a test recording of "It might as well he spring", (DB3826 or 45rpm 45DB3826) made many records for Columbia in the 1950s, two of which made the charts - Stowaway/The Pendulum Song, with Ronnie Harris: (DB3619) entered on 24 June 1955 to reach 12th place at Don' ring-a da bell/Da-dar (da-dar de-dee) (DB3749) its highest in an eight weeks stay; Letter to a Soldier (DB3685) fared less well 18 months later: four weeks in Perhaps not a prodigious output, and many of the the charts and only reaching 27th place (from 21st songs were 'cover' versions, but many other artists December, 1956), being edged out by the emergence of during the five years covered would have been pleased Rock 'n' Roll stars such as Jerry Lee Lewis, Bill Haley with the contract - not to say the royalties, plus her (Rock Around the Clock was just released in the UK), and own television series and public appearances. a string of Presley records, all providing a catalyst to popular music, much as the Beatles did in nearly a decade later. That Guiness commercial Barbara when I saw her during the course of last Yes, it is used for another tv ad. - and I can't think for year was far from the best of health, and walking with what, is it Fiat cars? But that annoying, cloying, the aid of a zimmer frame was wont to castigate all and amusing tune is 'Guaglione' from 1955. Thank good­ sundry for their short comings, and told risque jokes ness it's not the 'Pinky and Perky' style version of the often with a language that in earlier times would have Renato Carsonne Quartetto (which was released here made a sailor blush, although her earlier charm did not on French Columbia DPP42), otherwise every time the dessert her totally and she was always happy to share commercial is aired, I would probably be reduced to a drink. She had been married twice, but before tears of laughter. As it is the tune goes round my head, entering her retirement home, had been living alone in and many more too I suspect. Well, you know what a flat. She did not dwell on the past, nor did she speak they say about a good tune! Oh, and by the way, if you of her two marriages and divorces, she lived in the don't know who Pinky and Perky were, then, as they present, even if it was derelict. I cannot say I got to say - You weren't there. Ah! how I do wish we could know her, I doubt if anyone had got that close in her see those puppet pigs and their thick strings again later years. performing their quasi-satirical versions of the latest She always pointed out that the character that she (1950s) popular tunes. played in the family comedy series, alongside her brother Richard - now in Canada and whom I see also Rhythm & Blues made at least one 78rpm record (Fontana H.206 All my own/ Private eyes), was much younger than she was If only one musical form of significance had come out of the States in the 1950s, then R&B would have been herself, (a cruel irony given her appearance in later years) the role dropping about 10 to 15 years off her it. Perhaps the 1950s recordings are only just being true age. This may have explained the lack of personal appreciated by a wider audience in this country now. stardom that eluded her after Life With the Lyons, and In much the same way that Blues were studied in the the end of the decade. late seventies and eighties, R&B has attracted the Barbara had a pleasant singing voice, and extremely attentions of more younger learned gentlemen. Those good looks of the girl next door type. The vehicle that of us who listened to R&B in the nineteen-fifties as made her, also broke her as she found it somewhat children, (thanks to AFN, and some friendly American hard to avoid being thought of as any body other than airmen at a nearby USAF base, who loaned us their the young daughter of Ben Lyon and Bebe Daniels- precious US 45rpm records, or gave us their magazines Lyon. from the PX.) knew a bit about it before the Rolling Stones, later on we also listened to Alexis Komer whenever he broadcast. However the names of the Her releases were: performers and the record labels they recorded on Stowaway/The pendulum song, (DB3619) weren't available in any of the local record shops, (it Yes, you are/I love to dance with you. (DB3633 or was hard work just trying to get an Lp of Ellington's 45rpm SCM5186) 'Diminuendo and crescendo in blue', and having achieved Hey there (Pajama Game) /I went to the village (DB3649) it, it remains a precious part of my collection to this Falling in love/Letter to a soldier (DB3865 or 45DB3865) day.) so I am pleased to see that Big Nickel Publications Whisper/Where you are (DB3691 or 45rpm SCM5207), have just released volume 8: 1958 of The History of [some copies of 78 titled "Where are you?"] Rhythm & Blues. Progressing year by year through the C'est la vie/Fire down below (DB3931 or 45rpm decade. Starting at 1950 as a 'Special' each volume is 45DB3931) numbered by the year (eg vol. l covers 1951) and Thanks for the loan of a dream/Third finger, left hand. represents a compilation of monthly events, record (DB4026 or 45rpm 45DB4026) releases, news stories and details about R&B in the States. If any of are interested I will check out avail-

2818 ability, cost per volume is quoted at $19.95 plus $10.00 "... he wears an earring." Not quite the style of today's air mail. tabloid press. Danny changed his career direction, or had it changed for him, marrying Patricia Mackell one half of Danny Purches a girl duo The Mackell Sisters, he turned to cabaret and Watching a film on tv the other night about the life of clubs for his stage; the theatres were closing anyway. Rock'n'Roll star Jerry Lee Lewis, reminded me that the Shortly afterwards he retired from the business. British manager for that infamous "Child Bride" tour was one Kenneth Pitt. Pitt it was who discovered 78-s on Columbia: young gypsy boy singer Danny Purches on Alber- Mama/Just one more time. DB3626 (45 SCM5183) marle Street, Soho, or so the story goes. The version A rusty old halo/Tomorrow. DB3604 peddled in the music press of 1954, has it that the Golden Earrings/There’s always a first time. DB3673 young boy sang through a megaphone, accompanied We all need love/Guilty Kisses. DB3748 by an accordionist and a one-legged friend strutting All of which, except DB3626, were deleted on 31 January around on a ’peg-leg' collecting the fruits of his busk­ 1958. ing. The choice of Albermarle Street was apparently You don’t know me/You can’t run away from it. DB3860 deliberate, for it was there that band leader Ted Heath (45 DB3860) had his offices and rehearsal rooms, and that was He/The Shrine on the second floor (from film "Expresso whom the Romany had targeted for his discovery. Bongo") DB4129 (and 45 DB4129), deleted 31 January 1960. True or not it certainly makes a good story, and I don’t know if either Pitt or Purches is still alive to verify the tale after all these years. Parlophone What is certain is that Danny Purches, real name As you will see from the above artists profiles, and Daniel Puccessi, had none of the material and mone­ these two only represented a few of the many signed tary values that plague the rest of us. Akin to leg­ for Parlophone, most of the ’hits’ date from the later endary guitarist Django Rheinhardt, Danny had no half of the decade. The reasons are many, Musicians selfish concept of his earnings and shared them freely Union agreements with record companies such as with his, every enlarging, family of brothers, sisters, Parlophone. The arrival in the mid-fifties of a second cousins et al., something that seems to have alarmed (ITV) television channel throughout the London and Ken Pitt. Midlands areas, run by British impresarios, the It was the Romany gypsy background that appealed growth of influence by the Artists' Managers, and a to the public and press. Publicity photographs of the more proactive management style by some of the time show a handsome youth, stripped to the waist, newer arrivals who were not content —or not able— to posed like a fashion model with extra padding in the simply work from a desk in the West End of London, crotch area, all this before the dawn of Cosmopolitan! tapping reserves of bookings with the members of As was usual in those days, an agency signing was their own family who were theatre owners. These are, crucial for success and the national tours of the variety admittedly generalizations, but for Parlophone Rec­ theatres, this was achieved with the Foster Agency ords, being part of EMI from the time of the merger in and bookings on the Moss Empires circuit. His stage 1931, had not meant equal status within the group. act emphasised the Gypsy background with a ro­ Steadily running a slimmer and slimmer catalogue, mantic setting of a traditional horse drawn ’caravan’, the loss of its US masters in 1948/9 did nothing to help camp fire and red neckerchief. Romantic to the Nth against its comparative decline to HMV and Columbia. degree and recalling stage acts of some of the pre-war Shining Knight (non-Romany) singers. This then lead to a recording Enter the shining knight : Sir Joseph Lockwood; as contract with Columbia, under the aegis of Ray Martin head of EMI, and an astute businessman, he had and Norrie Paramor. The signing of this contract was perceived that promoting popular music would earn ’puffed’ in the Daily Mirror as "Gypsy Boy Signs far more money (and with a faster turnover) for the £10,000 Recording Contract". An unlikely sum from group than would classical recordings, where the EMI in those days, perhaps the Daily Mirror's reporter overheads had become much higher than ever before. couldn't stop his finger tapping away on the zero key Parlophone was the 'home' of George Martin who had of his typewriter! One penny (1d.) royalties, or even assumed the "A&R" mantle after the retirement of the 7/8ths of a penny, and £500 may have been nearer the legendary Oscar Preuss. One thing that he shared mark. with his predecessor was a zany sense of humour, and As I recalled earlier, Danny's wealth was as far as he this was to show in the number of comedy recordings was concerned, his family's wealth. Disputes ensued made by Parlophone in the 1950-s and 1960-s. with his manager and eventually the Fosters Agency It is to Sir Joseph that we owe a debt, because dropped the young singer with the romantic aura. without his decision to promote 'pop' music and put The chief charge levelled against him seems to have the Parlophone producers on an equal status to the been what was called 'unprofessional conduct' - usu­ HMV and Columbia 'classical' producers, none of the ally a euphemism for having the temerity to do what small band of British artists who recorded at Abbey we (the management) do (and being caught at it), and Road would have survived, nor would have the not doing what we tell you to do. The "crime"?...... comedy. It had already been suggested in some drinking 'front of house'! quarters that, with the retirement of Oscar Preuss, The future had seemed assured for Danny Purches in Parlophone as a label in the UK market be dropped. 1955, certainly most of the musical press were confi­ If that suggestion had reached implementation, the dent enough about him, although in those days the consequences for British (and World) popular music a press (with the possible exception of a certain Sunday decade later would have been far reaching. No paper) were more often likely to (mis)-report the better Parlophone, no George Martin, ... no Beatles (at least side of the music business. The most sensational thing not at Abbey Road)? that one columnist wrote in a music weekly was that JWB.

2819 great tenor John McCormack, fact that some countries apply Notes the John McCormack Society of copyright laws with more vigour America is re-organizing and than others. re-vitalizing itself for the future. If laws are to be harmonized This organization will be then please also could we have comprised of older members of harmonization of the application the society as well as newer addi­ of the laws. tions from across the globe. The Society now, as in the past, will be Vintage light music "On The Air" dedicated to the memory, and the There are many small museums We have been asked to point out preservation of that memory, of that a series of vintage light music that carry material of interest to the one of the finest singers ever to live. readers of this magazine. One cassettes, (with a content similar to If enough interest can be the ILD CD series Les Joyaux de la such is the Broadcasting Museum generated, a Society newsletter hidden away on the historic Musique imported from France by will be issued periodically. Cor­ TMR) advertised in some Chester Rows, only a few yards respondence will be nurtured. away from the beautiful city centre other collectors’ magazines, are Members will be actively encour­ not the products of The Vintage of Chester. From the atmospheric aged and solicited for articles, Vintage Sound Shop, where dance Light Music Society who also questions, and reminiscences." produce a series of cassettes of band music plays from the If you are interested, please gleaming mahogany gramo­ vintage light music. send your name, address and Readers attention is drawn to phones and bakelite radios. The phone number to Neil Coming, museum covers most aspects of the six CDs which are still avail­ Corresponding Secretary, John able from TMR, now at a cost of sound and tv broadcasting. With McCormack Society of America, 17 exhibits as diverse as phonographs £13.99 each plus 75p post and Diane Road, Peabody MA 01960. packing per order in the UK (for to pocket colour televisions. There USA. (Not to TMR, but please are also things to buy, fully re­ full details including track listings mention this magazine in your —see the preceeding two issues of stored working vintage radio or reply) Mr Coming promises that gramophones, or have your own TMR). The price increase of these you will be contacted when suffi­ popular CDs reflects the exchange set or machine repaired on the cient interest has been generated premises. rates now prevailing against the to launch a newsletter. Pound Sterling. Wheel chair access is available. The Comedian The museum is at 42 Bridge Street Row, Chester, there is an admis­ Harmonists (TMR 89) sion charge, but that was not to In the last issue of TMR pre- hand when this was put to press. ceeding the discography by Alain Telephone or Fax contact is (01244) Delot and Marc Monneraye we VJM's 348468. Times of opening are featured a photograph of The JAZZ AND BLUES given as April to December 10.00 - Comedian Harmonists with Jo­ 17.00 (Mon-Sat), 11.00 - 16.30 sephine Baker. Due to an over­ MART (Sundays). Winter months sight this photograph was not (January to March) the museum is properly credited to Disques If your tastes run to Jazz, only open Tuesdays through to Chansophone, it was taken from Blues and Hot Dance, you Saturdays from 10.00 -17.00. the booklet with Chansophone should be reading VJM's Jazz & Blues Mart. Published quar­ CD 108, Josephine Baker terly, it is the world’s leading "D'une ondeal'autre" 1933-1937. jazz and blues trading maga­ Another, similar, small museum zine, with each 100 plus is to be found in France, at Musde Copyright Law pages issue crammed with Nostalgia publishing will take a literally thousands of 78's, de la Radio et du phottographe in LP's, CD's, books and memo­ the Dordogne region at Route du bit of a knock if proposals are rabilia for sale or auction by Chateau de Val, Lanobre. adopted that would increase the leading collectors and Open from 1st April to 15th present period of expiry from 50 dealers worldwide. October between 14.00 and 18.00, years to 75 years. The re-issue also in July and August from 10.00 market, which is a lucrative busi­ Add to that features by to 12.00 every day. If you wish to ness at present, would probably be leading researchers, plus extend your horizons somewhat, constrained to 'popular' re-issues record and book reviews and you can also take a one hour rather than also meeting the needs our famed 'free wants' sec­ of collectors. Similarly visual tion, and you'll wonder how (20km) trip by boat from the Cha- you ever lived without it! teau de Val along the Dordogne. copyrights will mean that maga­ zines such as this one could well Details from 56 66 37 90. Guided £16 for four issues (UK) tours of the museum take just one have to restrict any reproductions £1 8 by Air to Europe hour. of material to that last published 76 £1 for a sample copy years or more ago. The John McCormack Certainly, as creative people, VJM's Jazz & Blues Mart we have no complaint as to the P.O. Box 78 Society of America basis of copyright laws, and wel­ Nottingham NG6 8RY " Upon the occasion of the 50 th come a harmonization of laws. England anniversary of the death of the However we are mindful of the

2820 listing shows us the names of racy of everything contained in its artists/musidans with whom 600 plus pages, but those items that I Reviews she recorded. Each title is given have been able to cross check from The first part of these in an alphabetical listing with its other sources, certainly prove it to be reviews should have "cross - reference number" correct. appeared in the last issue which takes us straight to the Compiled by Anthony Slide for of TMR. Regrettably they song in the discographical list­ Greenwood Press, he has the dis­ ing. Finally there is a listing of tinction of authoring or editing more were omitted. Our record numbers upon which the than fifty books on the history of apologies to all, especially song appeared. ISBN popular (US) entertainment. His our friends in Sweden. 91-88468-01-1 background is unimpeachable hav­ THE ARCHIVET FOR LJUD Both of these are excellently ing served as Associate Archivist pf OCH BILD of Sweden continues produced in "paperback" sized the American Film Institute and to document the recordings made 16 x 24 cm. and are thoroughly resident historian of the Academy of in that country. In our issue no. 83 recommended if this is your line Motion Picture Arts and Sciences. (p.2441) we reviewed the discog­ of interest. Available from The British contributions come raphy of Carl Jularbo and its ac­ Arkivet for Ljud och bild, Box mainly from Mander-Mitcheson, and companying cassette of his work. 27890, 115 93 Stockholm, are similarly of good proof. We have now received CD ACD Sweden. As a record collector I would just 93113 from the Archivet of re­ The Swedish Sound Archive liked to have seen a few more ref­ cordings by accordeonist Jularbo puts all other sound archives to erences to whether or not an artist with his various groups between shame !! was a recording artist. It would be 1913 and 1960. it plays for 75 impracticable to contain any minutes with 26 tunes. Some are World Music: The discographical information, just a the same as on the cassette - but it mention of the existence of record­ is not merely adding ten more Rough Guide ings, and films for that matter, would tunes in this compilation. It is Rough Guide series, Penguin, have been appreciated. excellently transferred. We have 1994, 720pp. ISBN 1-85828-017-6 Although aimed primarily at the no idea why some of the times on UK £14.99 (USA $19.95) American market, it is soon to be the cassette are not on the CD. Though most of this com­ available in the UK, from Green­ However, it remains a fine tes­ pendium is devoted to music wood Press Ltd., London. Price to be timony to Carl Jularbo who was too modern for the specialized advised ($60.00 in USA, and avail­ one of the primary accordeonists nature of this magazine, the able from Kurt Nauck, Spring, Texas, in Sweden. sections on Greek rembetika, USA). Recommended, for those with Ruben Nilson was bom on 7th Flamenco, fado, tango and deep pockets. JWB. ISBN February, 1893 and was the lyri­ Klezmer have some useful his­ 0-313-28027-4 cist, and oft times lyricist and torical information which might Le veto en chansons composer, for 133 songs. The make it worthwhile for readers book, "Ruben Nilson 100 Ar" by to borrow it from their public (1927 - 1950) Kurt G. Tragardh of 95 pages gives library, or get their local library Readers who took a close interest in a brief biographical note only be­ to stock it in the reference sec­ Marc Monneraye's discographical cause other publications have tion. P Mayer listing of last year (TMR No.86) Tour covered this more fully. It lists The Encyclopedia of de France, should be pleased to know alphabetically Nilson's songs with that a CD, based largely on his re­ details of the recordings of them Vaudeville search for this magazine, has been by various artists. Nilson was a This volume landed on my released in France. Complied by guitarist. Other sections list the desk almost by accident, I had Radio France - Radio Bleue, it pro­ composers of the music of the not expected a copy from the vides 70 minutes of entertainment songs (including Nilson). Then source from which it came, but centred around the world of cycling, there is an index of the artists who that is another story. However and cycle racing. If your own in­ recorded them. The "Fonogram- this book is a gem for the re­ terests do not extend as far as push­ nummerregister" lists the record searcher and collector alike. If ing the pedals round, watching for numbers on which Nilson's songs you have any recordings by the le maillot jaune (yellow jersey), or were released. The music and 'unknown' American artists even pausing for the peloton; fear not lyrics of sixteen songs are given at who may have had any con­ for this compilation will soon have the end. ISBN 91-88468-00-3 nection with American vaude­ you delighted with its unusual and ville, then this book has most lively selection. I say that because it likely got an essay and a (USA) Monica Zetterlund is not comprised of the normal artists bibiography on their career. with the usual recordings, albeit the Carl Magnus Palm and Thomas Arranged in alphabetical order performers contained in this CD Winberg have compiled a discog­ it mainly concerns itself with were (and still are) popular with the raphy of Monica Zetterlund. It American artists and the thea­ French. opens with a list of articles and tres they appeared in, the Fredo Gardoni, from 1934 and books in which she was men­ 'bookers', terms used for vari­ 1937; Jane Chacun from 1947; Fred tioned. The Discography lists her ous genre of acts and virtually Adison in 1939; Ah yes there is recordings from 1958 to 1991 in all anything connected with monsieur Tino Rossi with one track forms: 78 rpm shellac, EP, LP, vaudeville. There are too essays from 1937 (Doux secret d'amour); "Floppydisk", cassette and CD, on non-American performers occupying 85 pages, showing Maurice Alexander with his 1939 who played the States. I am not recording of Le Chevaliers de la route month and year of recording. A in a position to check the accu­ and a delightful close harmony duet

2821 by Les soeurs Etienne Faire le tour de man writing the sleeve notes/ one, it will please all those Radio France recorded in 1950. booklet was Ralph Harvey. We Bleue fans in southern England. JWB have praised other compilations Paris Etemel, E M 72438 322452 4. It is not often that one can write a from this series in the past, but may review having heard and enjoyed have had some slight reservations, (nearly all) the tracks many times often not quoted, about some track Berliner Gramophone before, but this is one of them for or another, but realize that com­ Records: American Issues, myself. Marc Monneraye pre­ mercial pressures often dictate a sented me with a private cassette as result not entirely to the liking of 1892-1900 a New Year present for 1994, con­ the purist collector, or production of AUTHOR: PAUL CHAROSH taining many of the tracks that later the booklets has not been good. When I learned by phone about found their way onto this CD. By a However I have to admit that this the publication of Paul Charosh's somewhat circuitous route, rather compilation is probably the best yet book listing known Berliner titles akin to a Pyreneean stage of the to emerge from EMI. The standard and takes, I posted an item on the Tour de France, the compilation was of re-mastering is better than pre­ Internet announcing the news. heard by m. Michel Goslin of Radio vious issues. Turning on my computer the next France and the end result is now day, I found a message (or "email") available for all to hear. There is no Je ne regret rien, but from a Londoner asking where one there is Enfin l'printemps from Raf. can buy the book in Europe. Also, To hear themed music of the Josephine Baker? oui! but with Martin Fisher of Tennessee had "golden age" of French popular Douce France. Chevalier is here of listed for me his Berliners. Discs of music that probably didn't get course, singing Fleur de Paris and Qa the 1890s, so crude by today's across the channel until January C'est passe un dimance au bord. Marie standards, were being discussed by 1994, I — unashamedly partisan in Dubas, Georges Ulman, Trenet, collectors using the exciting tech­ this case — recommend this CD to Hyane Embrun —Dimance prochain. nology of the 1990s. you. Paris au mois de septembre from Dan­ ielle Darrieux. Paul Charosh's new book is a If these were British dance bands wonderful achievement. I. am al­ you would all be raving about this The popular, prolific recorder but most tempted to say this is a col­ disc, prove me wrong and listen to sadly neglected accordeonist laborative project since many col­ the music of pre-war French bands, Maurice Alexander is represented lectors provided information that most of these tracks have a good with a recording from December makes this listing so complete, confident beat, foxtrots, quick 1943, Ah! Le petit vin blanc. Origi­ which is evidence that when the tempo marchs — with more than a nally Columbia DF 2979. And in collecting community pools to­ hint of hot flavouring, and not in the booklet we have readable notes gether resources, the results can be the least bit like a military march — (both for interest, as usual from very impressive. from the list in TMR.86 are featured Ralph, but also legibilty, which has items 1, 2, 3 (another version), 4, 8, not always been the case with some Charosh over the years contacted 9,10,15,16 (another version), 17,22 of EMI's output.) individual collectors and asked (another version), 29, 30, 31, 32 questions about their Berliners adding up to 70 minutes of music Historically the earliest recording -that is, if collectors did not first (and short speech track about re­ dates from 1932, Le doux caboulot, by contact him. If some people with porting the tour in the 1930s). Marie Dubas (Odeon catalogue substantial Berliner collections There is an illustrated 28 page 166.553) the latest from 1961 by never learned about this Berliner booklet with full discographical Danielle Darrieux. Intriguingly the project years ago, it is not due to information and 9 pages of English mussette style of track 14 is a rarity, lack of advertising. Publications text titled The singing bicycle written Tiroly-]ava-accordeon played by like New Amberola Graphic regu­ by our own Ralph Harvey, who accordeonist Deprince, is untraced larly announced Charosh's project. helped facilitate the cogs to go discographically, I quote from the Perhaps some titles and takes were round. JWB notes: overlooked because a few collectors chose to be silent about their rare 'Le velo en chansons, 1927-1950'. ...the matrix number OLA3109 discs, which is understandable. But 211731 HMCD 83, Compacts Radio suggests it was recorded in Paris Charosh was so systematic and France. 75786 Paris Cedex 16. during the early months of 1939 and professional in his years of research [Distribution by Harmonia Mudi released on V.S.M. (H.M.V.) - K that I would be surprised if he does not extend to UK, we are in­ series, this track is pressed from a missed many large Berliner collec­ formed by H.M. London. TMR is Hayes pressing, for export, from tions. investigating UK distribution.] shortly before or shortly after World War Two under the catalogue number MH1. the title is not listed Charosh writes, using third per­ Paris Eternel in a card index of eight hundred son, 'The compiler believes that Just as the last stage of the Tour de recordings of Adolphe Deprince in this represents approximately sev­ France concludes along the boule­ the possession of leading French enty percent of those [catalogue vard Champs Elysee, so we prog­ discographer, Gerard Roig." numbers] assigned." Collectors ress to Paris for this the twelfth should now consult the book, offering from EMI in their Conti­ If you haven't yet purchased one which is so well organized that nental Collection series. The title is of EMI's Continental Collection looking up items is simple (you may not new, having been used for a 12 CDs, or if you are accustomed to look items up by number, title or tracks LP in 1965, but this CD is not hearing all the old favourites over artist), and report to Charosh any the same product. Then as now the and over again, you should buy this titles and takes not already included

2822 in this book. But nobody needs to 19, 1897: "Rag Time Medley." The (a.k.a. Helen Jenynge — later wait for a revised edition since this fact that it is a medley confirms that known as Edith Helena), Laura Li­ is already an outstanding work. various ragtime numbers had bra, Virginia Powell Goodwin, Charosh's years of research and the achieved popularity by 1897. Some Edna Florence, Dorothy Yale, Grace many long-distance phone calls books erroneously dte Scott Joplin's McCulloch, Florence Hayward, have paid off. "Maple Leaf Rag" (copyrighted on Maud Foster, many more. Female September 18, 1899, according to artists on Berliner are nearly always In his Introduction, Charosh says, David Jasen's Recorded Ragtime) as singers though instrumentalists 'F or those with broader scholarly the beginning of this new music. include Marie McNeil on comet and concerns, these discs are ... valuable the members of the Ladies Brass sources of information about The other side of the ragtime coin Quartet of Boston Fadettes. Ada American culture" (xiii). What is is that the 1890s was the heyday of Rehan recites Shakespeare. true for the discs is true for this very the "coon" song. However much Female singers tend to sing light book, which can sit comfortably on this genre makes some people un­ opera or sentimental parlour songs. the shelf of American history buffs. comfortable —and however much There was no Ada Jones among I can think of few better ways to scholars stress differences- "rag­ Berliner female artists specializing understand the America of the time" and "coon song" appeared in comic songs. 1890s —its values, its preoccupa­ synonymous a century ago. Notice tions, its prejudices— than to study that Arthur Collins in one session in . Most of these female artists re­ song titles marketed a century ago. January, 1900 first recorded "You're corded for Berliner exclusively, (I hope that in 100 years anthro­ Talking Ragtime" (composed by the with only a few recording beyond pologists will not generalize about Beaumont Sisters —how many 1900, in contrast to the many male us after studying only the songs of sister teams composed ragtime a vocalists who went to Victor when Michael Jackson, Madonna, and 2 century ago?) and then cut "I Don't Emile Berliner was forced by an live Crew.) [Who? -Ed.] Allow No Coons to Hurt My Feel­ injunction to stop making discs. Music scholars should study the ings." Ragtime, coon song- careful These male singers include Arthur many titles listed by Charosh if distinctions were not made then. Collins, Joseph Natus, S.H Dud­ merely to understand popular taste ley, Albert Campbell, Will F. during this critical decade during Although Arthur Collins recorded Denny, Emilio Frandsco (Emilio De which important musical genres many "coon" songs for Berliner, Gogorza), Henry Macdonough, took shape. As many Berliner titles including two songs written by Bert William F. Hooley, J.W. Meyers, remind us, the 1890s saw the be­ Williams and George Walker, Ar­ Roger Harding, Edward Favor and ginning of ragtime. thur Collins was not pigeon-holed many more. Ragtime scholars need this book. as a "coon" singer. Titles from 1900 Perhaps we can only speculate at Anticipating that some will seek a indicating Collins' versatility in­ this late date why more females Scott Joplin piano piece or a clude "On The Road to Mandalay" who sang for Berliner did not make proto-typical piano rag, Charosh (this was too early for the Oley Victor discs (two of them did) and states in his Introduction, 'The Speaks version), "The Mick Who why many males did. In any case, compiler has found no recordings Threw the Brick," and "My Girl's the Berliner company employed devoted to piano ragtime." an Hawaiian Maiden." This last many female singers, the Victor What was not recorded should title is one of the first times "Ha­ company none at first (aside from interest us as much as what was waiian" appears on a record —John Edna Florence recording for Victor recorded. Charosh mentions that Terrell recorded "My Honolulu in October of 1900) —the contrast is "Daisy Bell" is missing, which Lady," #1924, a year earlier. I was startling. Mina Hickman, who de­ reminded me to search for my own surprised to find Arthur Collins serves more recognition as a female favourites. I found no Berliner re­ singing 'The Blue and the Gray", a pioneer, began recording in April of cordings of "When You and I Were song associated with Richard Jose 1901. She did not make Berliners. Young, Maggie" and "Silver in the late '90s. William F. Hooley, Alice Nielsen was a Berliner fe­ Threads Among the Gold." These no less versatile than Collins, was male vocalist who had a recording two songs may have suffered the entrusted with the famous Hamlet career beyond the 1890s. Here the fate of "After the Ball" (recorded soliloquy as well as Christ's "Ser­ famous soprano's name is given as only twice on Berliner) and "Daisy mon on the Mount"! Alice Neilson, even in Charosh's Bell"—they were already out of own note about the Alice Neilson vogue by 1895. I assume "Ragtime Dance," re­ Double Quartet: "Miss Neilson corded as a banjo duet in December does not sing on this record." Is Charosh's introductory essay, of 1899 (#0815), is not the famous how the name appears on Berliner "On The Gramophone," offers so Scott Joplin time, which was not discs? Perhaps a further note many interesting insights —like the copyrighted until 1903 though it should clarify this. fact that no piano ragtime is known was actually performed as early as -that I regret this section is only November 1899. Although Charosh With so many female singers seven pages. Charosh was in a adds useful notes for some titles, he making Berliner discs, I cannot special position to give many more is silent on most. Of course, he understand why baritone J.W. My­ pages of rich analysis. He leaves it could not listen to every Berliner in ers recorded "I Dreamt I Dwelt in to readers and book reviewers, I the various record collections scat­ Marble Halls," the popular aria suppose, to study entries and make tered in the USA. from Balfe's The Bohemian Girl. further comments. Myers does not make it to the I am struck by how many female second verse, which identifies the The first use of "ragtime" on a artists sang into the Berliner horn. singer as a maiden rejecting Berliner disc appears to be a Vess These female pioneers go unrec­ "knights upon bended knee." At Ossman recording dated August ognized today —Helen Jennings that same recording session held on

2823 December 14,1898, Myers also sang be cited when you need to dispel field match Mike Sherman's The 'The Last Rose of Summer," one of other myths regarding early opera Collector's Guide To Victor Records, the few male singers on record to recordings. which also has an excellent chapter cover this song ordinarily sung by on Berliners.) sopranos. Early Berliner recordings of op­ eratic selections do not necessarily Still, we must be thankful these Jean Moeremans, who began re­ offer great performances. No opera ten photographs are included given cording for Berliner in November of stars recorded for Berliner even the fact that Greenwood Press often 1897, appears to be the first to re­ though important stage celebrities excludes visuals In the Introduction cord solo saxophone on disc. A few and famous orators recorded. Charosh refers to "an early adver­ African American artists recorded Charosh states, "Berliner, like tising booklet [showing] a hand- for Berliner, and though George Edison and those connected with cranked machine operated by a little Johnson will already be known to the Columbia Graphophone, was girl." I wish this item —at least a many who buy this book, forgotten still years away from attracting the page or two —had been duplicated. artists include Thomas Craig ("the likes of Patti and others ..." This Surprisingly, Charosh never ad­ Colored Basso" —two selections) implies that Berliner eventually at­ dresses the issue of speeds. Ber­ and the banjo team Sam Cousins tracted someone of Patti's stature liners do not play at 78 RPM, going and Ed De Moss. Charosh should —not so. Ferrucdo Giannini de­ as low as 57 R.P.M. and as high as stress the significance of such artists serves recognition for his pioneer­ 71 or 72. I realize the focus of the in his Introduction. The book es­ ing work but his operatic perform­ book is discographic, but since this tablishes that George Gaskin was ances are not outstanding. Some may be the only Berliner book to be one busy singer, with John Terrell, readers today may condude that published in our lifetime (the last S.H Dudley, and Dan Quinn Berliner's most distinctive operatic one was published in 1926 —the nearly as busy. I find that John talent was Emilio De Gogorza, who biography Emile Berliner: Maker of the Terrell recorded some of the most recorded as Signore Frandsco. Microphone), a few extras would interesting titles of the 1890s. Hindsight may be a factor here have been welcomed in what is Consider three selections given since collectors know De Gogorza nonetheless an excellent book. consecutive catalogue numbers: went on to make superb recordings Tim Gracyk 1882 "Murphy's Gramophone" for Victor. (recorded October 19, 1898); 1883 Berliner Gramophone Records: "What Right Has He On Broadway" Many titles convince me that American Issues, 1892-1900 (recorded August 1898); 1884 'Take more Berliner discs need to be re­ Greenwood Press [no ISBN quoted] Your Clothes and Go" (recorded issued on compact disc. The U.S. can be ordered horn Allen Koe- August 1898). Marine Band recorded "Hot Stuff" nigsberg (502 East 17th St, Brooklyn on September 19,1899 - what a title! NY 11226) or Kurt Nauck (6323 Each song covers a topic that I This was followed in 1900 with Vess Inway Dr, Spring TX 77389—3643). want to know more about -the Ossman recording "Hot Stuff Pa­ Just as soon as TMR can get details gramophone in 1898, Broadway in trol." The versatile Vess Ossman from Greenwood Press offices in 1898, squabbles between the sexes recorded "Smokey Mokes" as #0611 London we will let you know of the in 1898 (whose clothes? are they on and immediately followed that with UK availability and price. -ED. or off?). It would be fun to think the overture to Rossini's William that a copy of each title sits in some Tell (#0612) on banjo! Three other collection in America, but Charosh discs I would love to hear are "Hold states in his Introduction that "no Dem Philippines/" sung by Arthur A Clutch of CDs surviving copies are known" of Collins (#0917), "Gay Coney Is­ "After the Ball," so we have to as­ land" (#1457), and "A Foot Ball by E rnie Bayly sume other tides listed here have Game" (#691). not survived. Does Charosh know ANN ZIEGLER & WEBSTER about "After the Ball" from a cata­ This book meets very high stan­ BOOTH. This compilation from logue? What year? In fact, both dards. I am sad to think that the EMI by favourite "Sweethearts of issue 83 of Antique Phonograph price ($75) will scare away many song" aptly titled 'Love's old sweet Monthly and Mike Sherman's The potential readers. The book has no song' (one of the songs included) Collector's Guide To Victor Records flaws to speak of though I have finds the duetists mainly singing duplicate the 1894 Berliner cata­ suggestions if Charosh revises the songs from well-known musical logue that lists "After the Ball," so it book. Although the ten photo­ shows, some of which went on to is understandable that Charosh did graphs supplied are very clear and film versions. The recordings not include this page of Berliner impressive (Berliners are difficult to were made between October, 1939, tides. But perhaps he should have photograph), they seem arbitrarily and January, 1951, though the ma­ established the date in his Intro­ selected and arranged. Why two jority are from the 1940's. Of duction. In several ways he could Dan Quinn titles? There are helpful course there are two medleys from have been more forthcoming. comments about the photos in the Lehar's shows. From America are introductory text, but actual cap­ songs by Romberg including I am surprised by how much tions should be provided so readers "Wanting you", "Deep in my opera was recorded in the 1890s on know at a glance what is significant heart", "Will you remember?". disc. When an American station about each of the shown discs or "I'll see you again" from "Bitter broadcast a documentary on the life what variations are worth noticing. Sweet' is possibly Coward's love­ of Victor's first vice-president, A photo of Emile Berliner or of a liest melody. His contemporary, Leon Douglass, I was dismayed to Berliner machine could have been Ivor Novello is recalled with "We'll hear Caruso cited as the first to included. (For excellent integration gather lilacs". From earlier com­ record opera. Charosh's book can of text and visuals, few books in the posers are "On wings of song"

2824 (Mendelssohn arr. Doris Arnold), Jay Wilbur (who became music di­ door softly", 'The Donovans". while Schubert's music is in 'The rector for Crystalate) has "Xylo Sean Mooney brings some hu­ golden song" and "The flower" as nights". "Bajaderentanz" (A. mour in "Are you there Moriarty?" used in "Lilac Time". I saw the film Rubinstein) is played by Simon I'm pleased to hear "She moved 'The wicked lady' but had quite Wurm's orchestra. through the fair" by Robert Irwin. forgotten "Love steals your heart" This is a very brave re-issue bring­ There is much in this set for those (Stranks, May). ing us a souvenir of the little label who enjoy good songs in a lighter that was popular in its day to its vein, to whom it is highly rec­ The singers had both served an reasonable price and to the very ommended. It is rounded out with apprenticeship in concert parties wide repertoire covered. Often a selection "Melodies from the and similar fine training grounds there was a different artist for each Four Provinces" played on before winning more lucrative side. accordeon by Albert Healy and positions. They married in 1938 'The banks of the Suir" played by but for a while continued indi­ There are 32 pieces with a total Pipe Major Nelius O'Cronin from vidual careers, then with the playing time of 79 minutes of de­ a rare 78rpm recording. All mate­ outbreak of World War II began lightful light music — but not of the rial here began life at that speed. touring as duetists in theatres and highest quality, though very ac­ Excellent sleeve notes on singers in concerts for the armed forces. ceptable to collectors of, or those and composers were researched by The marriage lasted until Webster with knowledge and understand­ Liam Breen with background in­ Booth's death in 1984. ing of, 78 rpm records. In this light formation by Nicholas Carolan. it is recommended. This is an excellent and wide - The excellent notes give us details However, I quarrel with some of ranging reminder of charming of the leaders of the orchestras, the artwork, which makes it diffi­ 'Light' duetists, playing for al­ together with matrix numbers, cult for me with perfect sight to most 76 minutes. Well transferred, catalogue numbers and the re­ read some of the notes. What but on my equipment lacks a little cording dates plus some other chance have those with poor sight? treble response on some tunes. relevant facts. -EB. Art designers can be inconsiderate. Perhaps a fault of the original re­ Symposium CD 1160 -EB cording. EB. EMI 2 - CD set CDGO 2067 and EMI CDGO 2057 and 8 28434 2 IRISH CREAM, THE GREAT 8 32657 2 (Cassette TCGO 2067) SINGERS OF IRELAND 1913 - THE VICTORY BANDS. Wool- 1955. Yes, John McCormack is worths stores in Britain sold seven included - singing "Where the - inch discs made by the Crystalate River Shannon flows", 'The green Manufacturing Co. They had yel­ bushes", 'Terence's farewell to low labels with a drawing of Nel­ Kathleen" and 'The Kerry dance". son's ship "Victory" as the main There is a total of forty - four songs design. For a few years these little in this two - CD collection sung, records were sold at 6d. each and mostly, by 'non operatic' artists were far from being children's who nevertheless have fine voices playthings. and can impart feelings to their material. Margaret Burke-Sheridan They contained all sorts of music. brings us "When he who adores This compilation features light thee","Believe me if all those en­ orchestral music. The chief re­ dearing young charms"and "Down SPOTLIGHT ON cording engineer was the veteran by the sally Gardens". William Ditcham. The aural CAPITOL evidence suggests that the tunes Delia Murphy was widely known, While there are still people around here were recorded in various especially by 'The spinning who remember artists of thirty plus studios... possibly some were wheel" and "If I were a blackbird" years ago and who have money to taken on portable equipment away but we also have 'The Enniskillen spend upon home entertainment, from the main studio because there Dragoons" as a duet with Michael Capitol records (a part of EMI now, is a variety of quality and tone. O'Higgins. Her unfortunate sister you will recall) is hastening to re­ with violin and piano accompa­ issue recordings by singers of the The music is performed by Peter­ niment gives us "The dacent Irish later days of 78s and the early days sen's Band - "Yoiks", a hunting boy". Barbara Mullen is included of Lps (mono and stereo). It is very medley, George Cathie's Orchestra with 'The Garten Mother's lull­ pleasant to hear these artists again "Kindergarten Polka", 'Tangier aby". It is surprising to hear her as they were in their younger days Tango", "Marche aux flambeaux", sing "Ma curly - headed baby" in even though some still perform "Old country dance" and "1812 an Irish collection. today with failing voices. Finale" as examples. The Irish (Anyone of any nationality may Guards under Captain Hassell sing any song of course.) It is The series falls under the generic contribute the 'Turkish Patrol" charmingly done. title of "Great Ladies/Great Gen­ (Michaelis). "Morgenblatter" tlemen of song", with the particu­ (Strauss II) is an early performance Typically Irish songs are sung by lar sub - title of "Spotlight on...... by Mantovani. Harry Mcquilty's Michael O'Higgins - "The bare name of artist. Each has excellent Orchestra plays a "Country Dance brown bog", "Kitty me love will notes by Joseph Laredo. No.l" (a well-known air whose you marry me?", 'The streams of name I cannot recall as I write), Bunclody", James McCafferty - Numerous of the songs included "Cuckoo Gallop" and "Irish jigs". "Molly Brannigan", "Open the began life as 78rpm discs.

2825 To date ten have been issued in KEELY SMITH, whose perform­ Decca and then Atlantic. Working Britain but it seems that twenty - ance I just missed in Las Vegas in from the influence of various four have been released in USA. 1992, is the third in the series with singers, he was at one time called a Wayne Watkins is the director of twenty songs from 1957 - 58. After 'musical chameleon'. He did some the project with Bob Norberg un­ a series of talent spots and coin­ film and club work and his pow­ dertaking the digital remastering. cidences she began singing with erful version of 'Mack the Knife' Because Capitol began using tape Louis Prima who she later married. (not included here) brought Im­ recording early in its life with new The decline of the 'Big Band Era' mediate attention on to him - and style microphones, excellent re­ left them lacking engagements at the road to Capitol. Excellent band cordings exist to provide first class times, but they became big fa­ arrangements by Billy May ac­ reproduction on these CDs of vourites in Las Vegas - of which company thirteen of the eighteen singers from our youth when quite Capitol heard and soon gave them songs. These were recorded in a number of us listened to Ameri­ a contract. 1962. The collection contains five can Forces Network military radio previously unreleased songs - stations very late in the evenings. For these recordings she is ac­ "Standing on the comer", "Just in companied by orchestras under time", "You made me love you", "I Nelson Riddle and Billy May. The got rhythm" and "I'm sitting in top selection opens with the significant of the World". BETTY HUTTON, whose life took "It's Magic", and includes nu­ a sad turn later, was known as merous old favourites as "Someone Darin sings in a somewhat de­ "America's number one Jitterbug" to watch over me", "Lullaby of the clamatory style, at times seeming but did not always sing in the leaves", "On the sunny side of the that he is throwing the song away. manic style of "His rocking horse sheet", "Sweet and Lovely". She However, 'There's a rainbow ran away", as shown by her first allowed herself to be guided by the around my shoulder" rocks at a Capitol success "It had to be you" Capitol executives for the choice of slightly slower speed than the (1944) or "(Where are you?) Now songs for her first Lp except for "I Jolson version. For me the best that I need you" (1949). There are wish you love" which she chose tune of the disc is "Fly me to the seventeen songs here recorded herself and which became her moon" in a very slow tempo. between 1944 and 1949, of which theme song. After some years Sadly, Darin died when only 37 eight came from Frank Loesser. All bringing up her two daughters she years old. of the songs were featured in returned to the 'club circuit' as a various of her films and accom­ solo artist - especially to Las Vegas DINAH SHORE always wanted to paniments are ably conducted by where her career really took off. be a singer, but was unsuccessful Paul Weston or Joe Lilley. "I wish I when auditioning for several of the didn't love you so" is a slow BOB MANNING, began singing leading 'big bands'. A brief theatre number that contrasts with the with his father when he was three appearance with Leo Reisman led boogie - jump novelty "Rumble, in the synagogue in Philadelphia to some recording with Xavier rumble, rumble". Betty Hutton where his father was cantor. An Cugat and then a contract with was among the best of the rhythm accident caused him to abandon Bluebird (78rpm) records. In 1940 singers in her early days and re­ sport and his attention wandered she began a regular spot on Eddie cordings later for other companies to listening to band singers on the Cantor's radio broadcasts. She was did not surpass these for Capitol. radio, and after graduating an "American Forces Sweetheart" through local bands was successful during World War II, during which MEL TORME is represented with to join Ziggy Elman's band which she appeared in films. Between his Capitol recordings of 1949 - enabled him to record for MGM. 1959 and 1961 she recorded for 1951 though his big time had began That band collapsed, bringing Capitol accompanied variously by with Chico Marx and recording Manning a struggling period until Andre Previn, Red Norvo, Nelson with the Mel-Tones in 1944. Col­ a 'demo' of 'The Nearness of you" Riddle and Dick Reynolds. laborations with Artie Shaw were was accepted by Capitol. Recorded highly rewarding and after coming in January, 1953, with the Monty Although she had several lively under the management of Carlos Kelly orchestra, it is one in this set. and rumbustious numbers, all here Gastel, His recordings for Capitol are slow and gentle, which is the began in 1949, From which year we Most of these songs are with Kelly failing of the collection. We have have nine songs. Among them are including old favourites such as well known songs, well - sung, "Careless Hands", "Oh you beau­ 'These foolish things", "That old such as "It had to be you", tiful doll", and "Do do do" (pre­ feeling", "It's easy to remember", "Somebody loves me", "I'm old viously unreleased). and Ray Noble's "The very thought fashioned", "Sleepy time gal", but of you", all of which are in slow somehow I feel weary at the end of Perhaps the best accompaniment tempo - as are all of the 18 songs in the CD !!! perhaps there is a lack of arrangements are those by Pete this collection. This is the failing of real emotional involvement by Rugolo like "Blue Moon", "Be­ the CD: the slow procession be­ Miss Shore in the songs. witched" or "Skylark". In 1951 comes tedious. came some recordings with Mel VIC DAMONE wanted a career as Torme at the piano with his trio by BOBBY DARIN was his assumed a singer, so began work as an usher whom two previously unreleased name and he came to prominence at New York's famous Paramount items "I love each move you make" when one of his compositions was Theater in order to hear the top and "Heart and soul" are now noticed by George Scheck, the singers of the day. Then he had a included. There is a total of manager of Connie Francis, which winning appearance on Arthur eighteen songs. resulted in some recordings for Godfrey's Talent Scouts radio pro­ gramme. Comedian Milton Berle

2826 happened to be present, arranged Rugolo and she met and married live on the hill" ‡. Of more modem for him an engagement at the "La his tenor saxophonist Bob Cooper. songs are "The best is yet to come" Martinique" Manhattan night spot The partnership lasted until June's and "I wanna be around". Peggy and his career never looked back. death over forty years later. She Lee's style is somewhat hushed left Stan Kenton to become a solo and intimate making this a very Recordings for Mercury and Co­ singer. pleasant reissue. Her variety lumbia were very successful but his makes this the best ladies' CD in few films were not to his taste and Her style is like a popular vocalist the set so far. so were not hits. His love still in with an empathy for the jazz rep­ ‡(This title is usually written as singing for records brought him to ertoire. The songs here were re­ "Folks" which is bad English be­ Capitol when Frank Sinatra was corded between 1951 and 1962; but cause folk is already plural.) leaving. Although his stay at mostly during the 1950's. The ac­ Capitol 1961 to 1964 might not have companying orchestras are led CHET BAKER. This CD is not in been the most celebrated period of mostly by Pete Rugolo and Bob the Spotlight series but appears at his career, I find his CD the most Cooper. There is a wide variety of the same time featuring a soloist. pleasing of the 'Spotlight' set to material from the very slow version Today, Baker is remembered as an date. His voice is 'natural' and of "Bewitched", medium tempo innovative trumpeter but on 9th. light —and always correctly placed 'They can't take that away from December, 1957, he recorded an Lp on the note (!!). Billy May's or­ me", "Until the real thing comes for 'World Pacific' (now part of the chestra accompanies for such as along" (Previously unreleased), Capitol - EMI empire), with guitar "Laura" "Diane", "Ebb Tide" and "I'll take romance", to the bluesy and bass, featuring himself as vo­ "Hawaiian Wedding Song". (A "When the sun comes out". "How calist and almost no trumpet. This great favourite of mine. Had I long has this been going on?" has a was a mistake. Every song is in­ married the ceremony would have fine piano solo accompaniment by terpreted as slowly as it could be to have been in one of those Is­ Stan Kenton, in slow tempo. without actually coming to a halt, lands. I've holidayed on Oahu !!). "When you wish upon a star" with and is boring. It is also a mistake to Jack Marshall provides accompa­ Joe Castro"s quartet is delicately issue it now. niments for "There! I've said it done. I like Miss Christy's style in CATALOGUE NUMBERS AND again", "Change Partners", "Let's the main but am occasionally dis­ PLAYING TIMES FOR THE face the music and dance". comforted by harsh vibratoless ABOVE CAPITOL CDs sounds that creep in. There are Betty Hutton 7 89942 2 51 mins NANCY WILSON lived around eighteen songs in this collection. Mel Torme 7 89941 2 51 mins Columbus, Ohio, and by the age of Keely Smith 7 80327 2 61 mins fifteen was singing in clubs there PEGGY LEE. How this singer Bob Manning 7 88940 2 53 mins and was seen on television. Her adopted her professional name is Bobby Darin 8 28512 2 50 mins road went to New York where she told differently in various places. Dinah Shore 8 28514 2 56 mins appeared with jazz groups led by The death of her mother when she Vic Damone 8 28513 2 46 mins George Shearing and Cannonball was four years old brought her a Nancy Wilson 8 28515 2 55 mins Adderley. She made a 'demo' tape harsh existence in North Dakota. June Christy 8 28535 2 57 mins which was liked at Capitol and led When fourteen she began singing Peggy Lee 8 28533 2 49 mins to twenty nine of her Lp records with a local band, thence to Fargo and being big sellers. The songs here (a bigger town), an unsuccessful Chet Baker 8 31676 2 39 mins were recorded 1959 — 1967 with venture to Los Angeles, with Will One notices that Capitol is NOT various orchestral accompani­ Osborne's band, etc. until she was among those giving generous ments. After a romping start with heard by Benny Goodman. Then playing times!! "What a little moonlight can do", her career 'took off'. After leaving the pace slows down so that most Goodman she recorded hits for Though not in the actual 'Spot­ of the songs are dragged along Capitol. Had a contretemps with light' series, the spirit of the next with certain notes sustained in a that firm and went to Decca, two is the same... "Capitol's Great trumpet like dirge which, many eventually returning to Capitol in Gentlemen of Song" Vol 1: "Hoo­ times, becomes constricted in the 1958 after writing lyrics and sup­ ray for Love", Vol 2: "Pennies from throat and harsh. There are some plying voices for Walt Disney's Heaven". Although these are good songs here, but they are cartoon "Lady and the Tramp". available separately they are best wrecked. If you like Miss Wilson's considered together. work so be it. However, for me this The 18 songs here are taken from is the worst - sounding of the the second stay with Capitol and There are forty songs by twenty- 'Spotlights' sent to me. are with various orchestras. In­ five singers. I'm pleased to say cluded is the famous "Fever" that that the British Matt Monro's two JUNE CHRISTY endured the previously was only on a 45rpm EP. songs, "Let's face the music and separation of her parents and by "Deep Purple" with orchestra dance" and "I get along without the age of 13 was singing with Bill conducted by Quincy Jones was you very well", stand up splen­ Oetzel's dance band for 'society' previously unreleased for some didly besides all the Americans dances around greater Chicago. unknown reason. who make up most of the re­ After school years were over she mainder. All those in the 'Spot­ joined Boyd Raeburn's progressive Peggy Lee's voice is timeful and light' series are here. A few of the band. In 1945 she replaced Anita always on the note. The selection songs are the same, but mostly O'Day with Stan Kenton's great contains 'old standards' like "I've those here are different. Also, organization which had profound got the world on a string", "When various of the singers will not be in effects upon her career. She had a woman loves a man", "I'm just that series. arrangements provided by Pete wild about Harry", 'The folk who I have had some pleasant sur­ have "High Society calypso", "lit­ who appeared in films. The prises. When I saw that Johnny tle one", "Who wants to be a mil­ original dates of composition of the Mercer would sing "Moon faced, lionaire?", 'True Love", "You're songs spans from the 1930's, starry eyed" written by Langston sensational", "I love you Saman­ through to when Sinatra recorded Hughes to music by Kurt Weil and tha", "Now you has jazz", "Mind if them between 1953 and 1960. One accompanied by Benny Goodman's I make love to you?". of the earliest songs is "Jeepers Orchestra, I did not expect it to be Creepers" which was sung to a so good. Frank Sinatra sings "In This CD plays for only 32½ min­ horse in a Marx Brothers film - a the wee small hours" and "I've got utes. Although "Mind if I make strange origin to what is now the World on a string" with Nelson love to you?" is the last song in the considered a jaunty love song. Riddle's Orchestra. Australia is film, it is unsuitable as a conclusion represented by Frank Ifield in a to a CD. I do not recall if there was It is clear that the compilers of this delightful arrangement of "Star­ music after that. Did the credits go CD do NOT know the meaning of dust". Count Basie's Orchestra is up the screen in silence? It would the word ballad. It has nothing to heard with Tony Bennett - "I guess have been appropriate to have or­ do with the way a piece of music is I'll have to change my plan" and chestral sounds to conclude the CD presented. Despite that "Day in, "With plenty of money and you"; properly. It would sound better day out" is slow as is the dramatic with Joe Williams - "Every day I with a reprise of the overture, if the "Laura". "Something's gotta have the blues"; with Billy Eckstine was no other music. Capitol CDP give", swings as does the swinging - "I want a little girl". A1 Martino 7 93787 2 3744 256 version (!) of "Day in, day out". has the delightful Harry Warren 'That old black magic" rocks gen­ tune "An affair to remember". Nat Two from Frank Sinatra tly. A flute is well featured in the 'King' Cole sings 'There will never accompaniment to "Fools rush in"; be another you" and closes vol.l FRANK SINATRA SINGS RO­ "P.S. I love you" is with a lovely With "That's all". (Mr Cole will GERS AND HART. Here we have string sextet (?) and flute. "When have his own 'Spotlight' CD 17 songs from those masters. Us­ the world was young", "Autumn shortly.) Sammy Davis and Lou ing a strong magnifying glass I see leaves" and "Dream" are all pre­ Rawls appear singing "You are my that the selections were recorded sented gently with strings pre­ lucky star" and "Stormy weather", between 1953 and 1961 (mostly in dominating. respectively. the 50's). The compilation is ar­ ranged by Brad Benedict and re­ The orchestras are conducted by I wonder why Louis Prima is con­ mastered by Bob Norberg - as were differing men. Using my trusty sidered to be a singer !! the 'Spotlights'. The notes by Pete magnifying glass I discovered that Each CD has a fine booklet listing Welding, setting the songs in con­ the excellent notes are by Pete songs, composers, lyricists, ac­ text, but being in so microscopic Welding. Equally small print on companiments, recording dates type I shall have to visit a photo­ dark blue is used on the back cover and photographs of the singers. I copying machine which enlarges in an attempt to keep recording recommend both of these to those before I shall be able to read them dates and conductors' names se­ who enjoy songs of the 1940s -50s properly. cret; (as it is on the Rodgers and -early 60s. Hart compilation). Capitol-Voll.CDP 8 31774 2. Vol Lesser singers than Frank have 2. CDP 8 31775 2 performed 'Songbooks' by various Musically both are excellent Si­ (There are two similar CDs of 'The songsmiths so it is most appro­ natra. I find that inexplicably I Great Ladies of Song' but we've no priate that we now have one of him have a slight preference for the review copies.) singing Rodgers and Hart. Among Johnny Mercer set. Playing time is the familiar are "Lover", 'The Lady just over 50 minutes on Capitol CD HIGH SOCIETY. After all these is a tramp", "My funny valentine", 7 80326 2 -EB. years this is now released on CD. It 'There's a small hotel", "I didn't has taken from the film soundtrack know what time it was". Lesser featuring Bing Crosby, Grace Kelly, known songs (to me at least) are Frank Sinatra and company - star­ "Wait till you see her", "Little girl ring Celeste Holm, John Lund, blue" and "Glad to be unhappy". Louis Calhem, Sidney Blackmer with Louis Armstrong and his I like "Spring is here" which may band. Because Crosby, Kelly, and have revealed Lorenz Hart's own Armstrong recorded their songs at state of depression when he wrote Capitol during January and Feb­ the lyric. I do not have a discog­ ruary, 1956, I go so far as to suggest raphy of Sinatra so do not know if that these constituted the sound to he recorded more songs by Rodg­ which they mimed before the ers & Hart that could have ex­ cameras. tended the playing time beyond the meagre 51 minutes. CAPITOL Some of these songs were released CD 7 80323 2 on all three speeds (78, 45, & 33.1/3 rpm). I seem to recall that (in FRANK SINATRA SINGS Britain at least) "Did you evah?" JOHNNY MERCER. This CD was different on one of the speeds. brings us 15 songs from one of (Who can tell me?). The selection those who helped form Capitol opens with the overture, then we records, was a recording artist and

2828 91 GRAMOPHONE RECORDS (78rpm) FOR THE COLLECTOR MICHIGAN ANTIQUE One of the largest and most interesting stocks in PHONOGRAPH SOCIETY Europe, including thousands of rare and uncommon 2609 Devonshire, Lansing, Michigan, 48910 items, covering the following fields: To become a member and receive our monthly 1) CLASSICAL; ORCHESTRAL; VOCAL and newsletter, IN THE GROOVE, apply to INSTRUMENTAL John Whitacre at the above address. 2) MILITARY MUSIC: Military Bands; Brass Bands 3) DANCE: JAZZ; PERSONALITY; FILM; Membership dues are $20 per year for USA , SPEECH $22 for Canada, $35 Overseas.

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English Ragtime m m ducnon lists To receive my latest auction list with all styles of 78s, records wanted including many rareities as well as some more Nicole (7" & 10") Odeon (7½") Neophone, common items and join the hundreds of regularly Neolite, Olympic (10" & 10½") Clarion, Mignon satisfied bidders, send a SSAE to: (5“ & 6"), Zonophone (5“ & 7"), Guardsman (10" & 12"), Bulldog, Berliner/G&T (7"), Popular, Marathon, Clarion Cylinders. PHedge, note, Mike Comber, Unit 50, South Ribble Steven Walker, Wyville House, Enterprise Park, Edward Street, Tinswell Road Lane, Stamford, Lincs., Walton-le-Dale, Preston, Lancs., PR5 4AQ PE9 2SB Tel. 01780 51238 Tel: Mobile 0850 856756 or 01772 259810

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Entry - £2.50 from 10am (£1 after Noon) Sunday 24th This is the BIG 78s bazaar out side of September 1995 London, luxury surroundings, easy access, no stairs, free carpark, restaurant and bar. Pre-admission (9.30am - 11.30am) £2.50 Visit the motorcyle museum afterwards. Normal admission - £1.00

Within 1 mile of British Rail (Birmingham Ample parking - bar - restaurant and a warm International). Birmingham International friendly atmosphere Airport, National Motorways network. For further details of stalls etc. please contact 01732 863955 or0181 660-0407 details from: or write to Derek Spruce, 9a Silverdale Road, Bushey, Fairfield Record Fair, 'Forest Lodge', Chartwell, Herts. WD2 2LY » 01923 237794 Westerham, Kent, TN16 IPS

Talking Machin e Review The Nostalgia Record Fair Book List in the we also have other items not listed, for sale at Grandstand Lounge the various bazaars WIMBLEDON STADIUM English 78 picture book by Don Taylor, 100's of English Plough Lane, London, SW17, labels illustrated incl some full colour " A best seller" £28.00 Adelina Patti : Queen of Hearts biog. Jobn F Cone 400pp £29.50 Count John McCormack Discography Sundays by Brian Fawcett Johnson (issue TMR 74) 60pp. £4.00 USA readers must order tits item from A Koeningsberg. September 10th Claude Dampier, Mrs Gibson and Me Billie Carlye autobiography, p/b illus. photos. 116pp £ 1.5 0 World Records Listing E. Walker, A Badrock and Frank Andrews, November 12th incL Featherflex, Vocation IPs 71 pp £3.00

Early preview from Hayes on Record £ 7.00

9.30am - £2.50 H M V B D L i s t i n g by Michael Smith 160pp p/b £12.00

Louis Armstrong a biography and UK discography including LPs General admission from James L Collier illus. 383pp. p/b £3.50

11.30am - £1.00 Little Richard biog ♦ dfscog Chas White.p/b.255pp. £2.95 TALKING MACHINE REVIEW Licensed bar and light refreshments 105 S turdee Avenue, G i l lingham, K ent M E 7 2 H G (see our entry in the Diary column of this magazine for more details) Please add 10% for postage in UK ; ENGLISH LABELS BOOK IS POST FREE to registered subscribers in UK. Printed in England. R&P Ltd. Kent 90 ISNN 9 770039-919

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